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Strauss,R.:Salome CD, Import

4.3 étoiles sur 5 3 commentaires client

5 d'occasion à partir de EUR 18,93
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Détails sur le produit

  • Orchestre: Vienna Philharmonic Orchestra
  • Chef d'orchestre: Herbert von Karajan
  • Compositeur: Richard Strauss
  • CD (21 septembre 1999)
  • Nombre de disques: 2
  • Format : CD, Import
  • Label: Mis
  • ASIN : B00000K4GF
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.3 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 582.276 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Wie Schon Ist Die Prizessin Salome Heute Nacht! - Kurt Rydl
  2. Nach Mir Wird Einer Kommen - Kurt Rydl
  3. Ich Will Nicht Bleiben - Hildegard Behrens
  4. Siehe, Der Herr Ist Gekommen - Kurt Rydl
  5. Jauchze Nicht, Du Land Palastina - Kurt Rydl
  6. Du Wirst Das Fur Mich Tun - Wieslaw Ochman
  7. Wo Ist Er, Dessen Sundenbecher Jetzt Voll Ist? - Wiener Philharmoniker
  8. Jochanaan! Ich Bin Verliebt In Deinen Leib - Jose Van Dam
  9. Wird Dir Nicht Bange, Tochter Der Herodias? - Jose Van Dam
  10. Wo Ist Salome? Wo Ist Die Prinzessin? - Agnes Baltsa
  11. Es Ist Kalt Hier - Agnes Baltsa
  12. Salome, Komm Trink Wein Mit Mir - Agnes Baltsa
  13. Sieh, Die Zeit Ist Gekommen - Agnes Baltsa
  14. Wahrhaftig, Herr, Es Ware Besser - Agnes Baltsa
  15. Siehe, Der Tag Ist Nahe - Agnes Baltsa

Disque : 2

  1. ...Eine Menge Menschen Wird Sich Gegen Sie Sammeln - Agnes Baltsa
  2. Tanz Fur Mich, Salome - Agnes Baltsa
  3. Tanz Der Sieben Schleier - Wiener Philharmoniker
  4. Ah! Herrlich! Wundervoll! Wundervoll! - Wiener Philharmoniker
  5. Still, Sprich Nicht Zu Mir! - Agnes Baltsa
  6. Salome, Bedenk, Was Du Tun Willst - Hildegard Behrens
  7. Wer Hat Meinen Ring Genommen? - Agnes Baltsa
  8. Es Ist Kein Laut Zu Vernehmen - Wiener Philharmoniker
  9. Ah! Du Wolltest Mich Nicht Deinen Mund Kusssen Lassen - Hildegard Behrens
  10. Sie Ist Ein Ungeheuer, Deine Tochter - Agnes Baltsa
  11. Ah! Ich Habe Deinen Mund Gekusst, Jochanaan - Hildegard Behrens

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Par earthlingonfire TOP 500 COMMENTATEURSMEMBRE DU CLUB DES TESTEURS le 10 octobre 2008
Format: CD
Les rencontres discographiques de Karajan et des Wiener Philharmoniker ont toujours exacerbé le sensualisme latent du chef autrichien. La fête sonore est telle qu'on peut l'imaginer d'autant que pour enregistrer cette Salomé, EMI s'est fait aider par Decca, spécialiste du son spectaculaire et habitué en particulier à enregistrer l'Orchestre philharmonique de Vienne à la Sofiensaal. Dans ce fleuve de pure volupté, il n'y a que peu de place pour le théâtre, mais comment faire la fine bouche ? La distribution n'est peut-être pas la plus grande à avoir été enregistrée, mais ne démérite pas. Il faut d'abord connaître le Jochanaan de José Van Dam, adéquation absolue entre un rôle, personnage et musique, et une voix, noble, ronde et chaude. Agnes Baltsa, qui n'est pas la chanteuse du siècle, est encore jeune, tandis que Böhm oscille entre caractère et lyrique. Le couple Hérode-Hérodiade est en tous cas bien léger, pour ne pas dire impuissant à évoquer la corruption. Ce choix délibéré de Karajan peut laisser sceptique : on en regretterait presque les Dunn et Cassilly de Karl Böhm (DG). Quant au rôle-titre, le chef, soucieux de marquer l'ouvrage de son empreinte jusqu'au bout, le confie à une jeune "découverte", une certaine Hildegard Behrens. Dans un sens, son flair est certain, puisqu'elle allait être appelée à succéder à Gwyneth Jones comme hochdramatischer Sopran wagnérien du moment par défaut. En 1977 et dans Salomé, elle a encore une fraîcheur vocale et dramatique méritoires.Lire la suite ›
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Format: CD
Richard Strauss composa son opéra "Salomé" en 1905, d'après la nouvelle d'Oscar Wilde (écrite en français). Le compositeur opta pour la traduction allemande qu'en fit Hedwig Lachmann (il raccourcit beaucoup le texte de sa compatriote, pour ne composer qu'un seul acte d'opéra). Il en résulte une Salomé non pas cruelle, mais naïve et sans scrupules, inconsciente de ses attitudes extrêmes à cause de son très jeune âge. Tous ses désirs sont obsessionnels. Sa mère Hérodias n'a pâs un rôle imposant, bien qu'elle préfère les obsessions de sa fille aux ordres de son second époux, Hérode.
Karajan dirigea l'oeuvre pour la première fois à Salzbourg en 1929 (à l'âge de 21 ans), avec un triomphe absolu (et ce pour une seule représentation, tant l'oeuvre était mal vu par les autorités, vu son sujet choquant pour l'époque). Puis il attendit non moins de 48 ans pour trouver enfin "la" Salomé qu'il imaginait. Ce fut Hildegard Behrens, une jeune soprano qu'il rencontra lorsqu'elle répétait à Dusseldörf "Wozzeck". Ce fut le coup de foudre artistique. L'oeuvre fut représentée au Festival de Salzbourg en 1977, et enregistrée la même année. Karajan a choisi la Philharmonie de Vienne, et des solistes vocaux de tout premier ordre. Hildegard Behrens, donc en tête. Elle incarne une Salomé fragile, adolescente mais déjà très sûre d'elle, loin de la cruelle démonne voulue par Wilde à l'origine.
Lire la suite ›
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Format: CD
Au début, j'ai eu presque le mal de mer avec cette prise de son irréelle, qui correspond aux demandes du chef, et qui à d'autres moments, donne une extraordinaire beauté satinée à l'orchestre (mais bien sûr, on n'entendrait jamais ça au concert). J'ai écouté d'autres versions modernes, plutôt bien accueillies par la critique et le public (Dohnanyi, Sinopoli), pour avoir du recul. Etrangement, la comparaison, qui n'a pas été systématique, a été légèrement favorable à Karajan. Avec ce chef, l'élégance triomphe toujours, c'est vrai. Il se peut donc que ce soit donc la meilleure version "récente" (moins de 40 ans), ou une des meilleures. J'ai reconsidéré l'impression déplaisante que j'avais eue et j'ai admis que ce son presque poisseux convenait à l'évocation d'un Orient corrompu, louche, à la sensualité malsaine : il y aurait donc une vérité de l'œuvre, une cohérence avec le sujet, la musique et les personnages. J'ai employé la première personne parce que mon cheminement par rapport à cette version, que je n'aime qu'à moitié, n'a rien d'universel.

La Danse des Sept Voiles, très lourdement sensuelle, très érotique, confirme les options du chef. A d'autres moments, le son devient bien plus réaliste (mort de Jochanaan, dans une certaine mesure scène finale, etc) : il s'agit tout de même de permettre aux chanteurs de se faire entendre.
Lire la suite ›
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.5 étoiles sur 5 19 commentaires
17 internautes sur 17 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Terrific Recording 14 septembre 2003
Par Un client - Publié sur Amazon.com
Format: CD
Behrens is not my favorite singer. Karajan's later recording also do not appeal to me in general. For instance, his Fidelio with Dernesch and Vickers was marred by weird sound perspectives and constant manipulation of balance which is very annoying. As a result, I resisted buying this set for a while until now. What I heard amazed me beyond imagination!! It's not the normal "bad Karajan" like his Fidelio. It's not the normal below-the-best standard singing from Hildegard Behrens. This is a sinply great recording, worthy of being in the Great Recordings of the Century series. This is definitely Hildegard Behrens' best opera recording, done when she was at her absolute prime. Here, her beauty of tone and line is simply incredible!! Karajan himself is inspired!! The orchestral playing is simply superb. I simply love the final scene when Salome is singing and the little bells tinkle as she caresses Jochanaan's head!! (??? I'm not sure but they sure sound like little bells or a triangle) The tinkling bells! They are sheer magic! It gives the final scene a "little girl" feel. Like an "innocent" 16-year old girl playing with her "toy" but this "toy" is Jochanaan's head!! After listening to the bells in this recording, I'm sure Richard Strauss meant to give the final scene a "nursery school" kind of atmosphere to emphasize the fact that Salome is an adoloscent teenage girl who is just "coming of age", who is just beginning to discover the world. A girl coming out of "innocence". And Hildegard Behrens sounds just like a 16 year old girl. Her voice is silvery, radiant and cuts across the orchestra like a razor sharp blade. And oh! The beauty of her voice!! I was very surprised since I do not quite like some of her later recordings as much. Now I understand why this recording was so critically acclaimed. Karajan is more "refined" compared to other Salomes but this is a different kind of refinement!! Different from the annoying refinement you get from other Karajan recordings. I like this one. I don't think you should be put off by the less than 5 stars given to this by some reviewers below. This Salome is simply sheer magic! Enjoy it! If you don't want to invest in a first hand copy, buy a second hand!! It costs less and I'm sure you will like this recording.
25 internautes sur 27 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 An ode to sensuousness. 25 octobre 2004
Par Marcelino Plaza - Publié sur Amazon.com
Format: CD
Generally, late 1970's and 1980's Karajan studio recordings, to my liking at least, must be approached with care and even mistrust. His immense talent not being the subject of discussion, yet as he aged he tended to give a lot more attention to how things were played, how they actually sounded, than to what was being played, somewhat along the lines of Elisabeth Schwarzkopf or Dietrich Fischer-Dieskau, who also tended to give so much attention to these matters as to sound affected and artificial. Those special qualities (see following paragraph) that so much distinguished his recordings with the Philhamonia Orchestra made during the 1950's for EMI, or his early '60's discs made for Decca, EMI and DG with the Vienna and Berlin orchestras gradually faded along the 1970's and the 1980's.

But not in this recording. This is easily the best conducted Salome in recorded history, and that so in a work that has been particularly lucky in this respect. What we have here is a return in spirit to "das wunder Karajan" of 30 years earlier, to what lay behind the acronym of "Toscawängler" coined by some London critics of the early 1950's when Karajan righfully dazzled audiences all over post-war Europe once the Allied authorities in occupied Germany and Austria allowed him to return to work. That the 70-year old conductor was able to return to his form upon which much of his fame was built is short of miraculous, in a work that so much exhudes the sexual reckoning of youth. Tension along the two hour-long performance never ceases and by the time the final orchestral crashes aurally picture Salome being literally crushed under Herod's soldiers's shields, you breathe in relief. Wow! is most likely what you may be able to utter ...

The recording is based on a Salzburg Festival production for which a formidable cast was assembled. Yet Karajan seemed to view the opera as some kind of extended-length orchestral work with vocal obbligati, as the orchestra is the prime player, indeed the real protagonist. And the VPO gladly picked up the challenge, playing like gods and captured in superb sound that has endured the test of time (the recording dates from 1978!) and puts to shame many a modern disc. Commisioned by HMV to Decca, the latter's engineers no doubt did their best to show their arch-rival EMI colleagues what they could achieve (the producer was Jimmy Lock, the legendary John Culshaw's right hand in many a Decca Vienna recording project).

Featured singers have mostly retired by now, but fortunately for us were caught in their prime, especially Behrens and van Dam. I've seen that others in this site have referred at length to the vocal highlights of this set, so I won't, rather avoiding being repetitive; I agree with all their laudatory comments.

In sum, any newcomer to Salome won't go wrong with this audio-only set. If video is a must, I'd propose the superb Malfitano Berlin performance, a rendition also very well conducted by the much-lamented Giuseppe Sinopoli, yet available only as a VHS tape from Teldec (I don't know if there are plans to issue it in dvd); if video is a must but VHS is a no-no, I'd propose the Covent Garden Peter Hall production available in dvd from Pioneer/Kultur, with Maria Ewing as Salome, conducted by Sir Edward Downes (but don't expect from Sir Edward's remarkable effort Karajan's refinement or Sinopoli's insights). Settle for Malfitano's Covent Garden performance under Dohnányi on a Decca dvd only if that's the only one you can have access to.
30 internautes sur 34 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Ah! Herrlich! Wundervoll! 8 octobre 1999
Par Jason - Publié sur Amazon.com
Format: CD
After an apparent hiatus from the catalogues, Herbert von Karajan's 1977 recording of "Salome" is back and better than before. The stuffy sound quality of the 1987 remastering has been eliminated, replenishing the recording's essential beauty (and at a more reasonable price). The libretto booklet also includes background on the Salome legend, as well as information about the recording itself.
Hildegard Behrens, relatively unknown at the time of the recording, sings the title role with appropriate "youthfulness" and fresh sensuality, like Catherine Malfitano, Teresa Stratas, and Inga Nielsen. Salome is not to be sung like Brunnhilde, nor as a caricatured "madwoman," as certain others have sung it. She is an adolescent dealing with her sexuality on her own terms (Yeah, baby! Yeah!), or perhaps she is trying to fulfill her spiritual needs (A popular interpretation in our more spiritual times.), or perhaps she seeks a sexual and spiritual union with Jochanaan (The best of all possible worlds.)? Is Salome the perfect Tantrist (Tantris? Good God!)?
As for the orchestra, Karajan and the Wiener Philharmoniker successfully balance the savagery and sensuality of the score, and therefore of Salome's psyche. They unleash the savagery at appropriate times, with thunderous timpani and horns during Jochanaan's ascent from and descent back into the cistern, and the opening of Salome's final scene with Jochanaan's head. Then there are the moments of sensual langour and tenderness as she dreamily rhapsodizes about Jochanaan. And then her cosmic orgasm, as she transcends Herod's court, Jochanaan's head, the world, the moon, the stars, the universe.
12 internautes sur 12 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Superb 20 août 2003
Par Un client - Publié sur Amazon.com
Format: CD
Salome is a very "lucky" opera on disc. There are many superb recordings of Salome and this is one of them. Hildegard Behrens started late as an opera singer. When she made this Salome, she was 40 years old and at the start of her operatic career. She was a bright shining star in the operatic world and her voice was fresh and unspoilt. It is fortunate that this recording was made early because in the later years Behrens would have some vocal problems perhaps because she overused her vocal cords. But here, I find her voice simply marvellous. I've heard some of her other recordings, and her voice isn't that good compared to that in this recording. Her reading here is very compelling. All the vocal demands of the score are met and her voice is silvery and light just like a "16 year old". This is ont of Karajan's best "late" recordings (in general, I prefer Karajan's early "live" performances). So this set deserves to be set beside the legendary Welitsch, Nilsson, Rysanek and Studer.
If you want a vocally faultless Salome, Birgit Nilsson's Salome with Solti on Decca or Birgit Nilsson with Sebastian on Gala (1965 Buenos Aires - a 'live' recording in superb stereo sound) are invincible. If you want a soft and sensuous Salome, Leonie Rysanek on RCA with Karl Bohm and Leonie Rysanek on Golden Melodram with Kempe (and the incomparable Jon Vickers as Herod) are unbeatable both 'live' recordings in superb stereo sound. The tension in the four recordings I mentioned are unbelievably stunning. The Solti is the only studio recording. But John Culshaw has said in his autobiography that it is one of those rare studio recordings when everything was done in sequence. And the Decca sound is superb. Behrens has a wonderful top register, her top notes shining radiantly like the sun. Her voice is silvery. Cheryl Studer on DG (Sinopoli) is also incredible.
So there are many superb Salome sets out there - Birgit Nilsson has two, Leonie Rysanek has two and then we have Behrens and Studer, not to mention the astonishing Ljuba Welitsch. Opera lovers are spoilt for choice. Will this work as a "first choice". Yes! Anyone of the sets I mentioned is perfect as a first choice. As for me, I must have them all.
11 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Karajan Salome: A Winner! 21 septembre 2005
Par Rudy Avila - Publié sur Amazon.com
Format: CD
This 1978 studio recording of Salome is among the finest Salomes commercially available, though it can be argued, and it is, that Ljuba Wellitsch's earlier WWII Era recording is the ultimate, since her chilling portrayal of the heroine is largely considered as the creme de la creme. Other superior Salomes have included the Wagnerian/Strauss diva Birgit Nilsson in the 60's and 70's, whose mastership of the German repertoire is mind-blowing. Hildegard Behrens must have grown up admiring Birgit Nilsson for in this critic's personal opinion, Behrens can suitabely be hailed as the successor to the throne of Birgit Nilsson. Hildegard Behrens sang the same repertoire, including Brunhilde at Bayreuth and Tosca at the Met. Behrens arrived late into the opera scene. In this recording she is already 40. Nevertheless, she packs a punch as Salome, perfectly comforming to the vision of Karajan's interpretation, which this recording is all about. Her voice is light and she sings in such a way that she makes her voice appear grander and bigger than it actually is but it works for Salome, since we must take in mind that Salome is a teenager and so a relatively lyric voice with dramatic force behind it is absolutely perfect for the role. The final scene is so well-done and sends chills down my spine.

Herbert Von Karajan had never recorded or staged Salome, though it was inevitable since his involvement with the Salzburg Festival made use of Strauss operas- Ariadne of Naxos and most notably Der Rosenkavalier. Karajan's version of Salome is classical, not modern. He is evoking the Salome that caused a scandal in its premiere. When it was first performed in 1900 something, at the turn of the century, it rocked Edwardian sensibility. Its theme of necrophilia, sexual frustration and not to mention lascivious dancing and the beheading of the very beloved Biblical/Christian figure of John the Baptist was too much to take in for a work of theatre. It was banned in London and when the opera came out, Strauss got himself into trouble, for very few places outside his native Austria would perform the opera. It was banned at the Met for years and not until the 20's did it make a return. The primal intensity of the piece is quite clear throughout and the performers are convincingly dramatic. They include:

Jose Van Dam as Jochanan/John the Baptist. Van Dam is a supremely talented bass baritone. He has experience in such diverse roles as Leporello in Mozart's Don Giovanni, King Phillip in Verdi's Don Carlo and here he performs one very credible John the Baptist. His voice is sonorous and he does play the part of the Prophet well. He is mannered and refined in his lyricism as well. To my knowledge, no other baritone has sung the part so well.

Agnes Baltsa as Queen Herodias. She has a dramatically compelling mezzo soprano voice, though at time she may come off as looney, but as the vindictive and mean-spirited queen she is doing a fabulous job. Baltsa is yet another talented singer with many roles to her credit, among them Bizet's Carmen, Cherubino from Nozze Di Figaro and Rosina in Barber of Seville. She has no problem with the German language though it is also very evident she is more comfortable singing in Italian or French. She is not too bad as the Queen however, eventhough there are superior Queen Herodias out there.

All in all, this is a fine recording, the true stars being Karajan himself and his fine interpretation (not to mention the great recording engineering done in Vienna) Jose Van Dam's Jochanan, Agnes Baltsa's Queen, and the star of the show, the soprano Hildegard Behrens. This was the role that made her a star. She would go on to sing Brunhilde and Tosca, her career extending through the 80's and 90's. But if you are looking for other Salomes that are slightly better look for Solti's recording with the incomparable Birgit Nilsson, or the earlier one with Ljuba Wellitsch or the modern and recent one starring Inge Nielsen.
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