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Traviata-Comp Opera

5.0 étoiles sur 5 2 commentaires client

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Page Artiste Beverly Sills


Détails sur le produit

  • CD (25 octobre 1990)
  • Nombre de disques: 2
  • Label: Mis
  • ASIN : B000002SGL
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 364.888 en Musique (Voir les 100 premiers en Musique)
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Format: CD
Deux points noirs à cette version : le John Alldis Choir qui ne fait pas dans la dentelle (les hommes chantent avec la délicatesse d'un éléphant dans un magasin de porcelaine) et Richard van Allan qui est vraiment un chanteur impossible. Il ne sait pas articuler et ne se distingue pas par la finesse de son goût musical. Ne parlons pas de son italien. Dieu merci son rôle est anecdotique.

Beverly Sills, chanteuse prodigieusement douée, malgré son vrai sens dramatique et une technique encore crâne (contre mi bémol) suscite quelques réserves pour son vibrato excessif et probablement incontrôlé, mais la richesse de son interprétation parvient à faire oublier ce défaut. Il est dommage qu'elle n'ait pas enregistré ce rôle plus tôt. Elle reste avec Cotrubas à mon sens la meilleure Traviata au disque.

Tout le reste est à se mettre à genoux. Gedda est le ténor exceptionnel que l'on sait, de mon point de vue le plus grand du siècle passé. La gamme de nuances qu'il possède fait pâlir ses confrères italiens qu'il surpasse de très loin par la finesse et l'intelligence de son goût musical. Les duos avec Sills sont à pleurer.

Rolando Panerai se démarque de ses confrères par une conception originale du rôle de Germont, moins sobre que Milnes par exemple, mais il la défend d'une manière très convaincante. Vocalement, c'est magnifique et irréprochable.

Le chef, Aldo Ceccato, a laissé peu d'enregistrements et en écoutant celui-ci, on se prend à le regretter.

Il est de la trempe des plus grands.
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3 commentaires 4 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par Chistian le 5 novembre 2010
Format: CD Achat vérifié
j'ai pris cette version de la traviata car j'ai eu l'opportunité qu'un vendeur me l a laissé pour vraiment trois fois rien - je l'ai prise entre autre pour Beverly Sills que je ne connais que peu mais j'hésitais pour le rôle de ténor chanté par Nicola Gedda qui me ramène toujours a l'opéra Français - MAIS- qu'elle ne fut pas ma surprise d'entendre la meilleure version de cet opéra - Un Gedda méconnaissable , d'un ultra dynamisme jamais vu - Les choeurs splendides et très présents du premier air au dernier - Une traviata qui s'écoute sans aucune interruption- du jamais vu - tout s'enchaine si bien; a tel point que l'on ne sait plus ou commence et ou se termine un air - Bref un grand air tout simplement du début a la fin - Une véritable aubaine pour moi....tant pis pour les autres ( après tout c'est l'aubaine qui m a choisi, moi je ne lui avait rien demandé) - Christian (le bon navire)
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Amazon.com: HASH(0x8cfc5fa8) étoiles sur 5 38 commentaires
37 internautes sur 38 ont trouvé ce commentaire utile 
HASH(0x8cf72a08) étoiles sur 5 A Perfect Traviata 24 septembre 2002
Par Rod Tierman - Publié sur Amazon.com
Format: CD
There are many fine Traviatas out there (Callas, 2 by Sutherland, Caballe, Cortubas, and the like), but I feel this one is the best of the lot. Beverly Sills is extremely fresh voiced here and delivers her arias with freshness and aplomb. Her "Sempre Libera " is simply breathtaking. Her colleagues here are also unsurpassed. Nicolai Gedda is magnigicent here,offering just the right amout of lyricism and passion to the role of Alfredo (even demonstrating an incredible High C at the end of his caballetta "Oh mio rimorso! Oh, infamia!"). Gedda is my favorite of any of the recorded Alfredos. Rolando Panerai is probably the finest Germont the elder I have ever heard. His "Di Provenza Il Mar, Il Suol" will literally tear at your heartstrings and this reviewer has never heard a finer rendition since the American Baritone Lawrence Tibbett. Aldo Ceccato is the conductor here and does a very fine job indeed. If you want to hear La Traviata the way it should be performed, treat yourself to this recording.
24 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0x8cf72a5c) étoiles sur 5 Siils' Traviata 26 octobre 1998
Par Un client - Publié sur Amazon.com
Format: CD
Fine, very much underrated recording. With vivid, crisp, well-remastered sound and very generous cueing, it makes an excellent, all around bargain. The text is absolutedly complete (cabalette are repeated twice, as marked in the score). Sills' reedy voice can be an acquiered taste but her interpretation of this doomed character is most moving. Gedda is a model of taste who does not lack fire and flair (his rendition of the often-omitted "o mio rimorso" is one of the best on records). Panerai sings well, if not as imaginatively as Sills. Ceccato is an efficient, unmannered conductor who does not get in the way of the singers. Italian & English Libretto included.
20 internautes sur 20 ont trouvé ce commentaire utile 
HASH(0x8cf72c30) étoiles sur 5 La Traviata Heaven: The Greatest Recording 1 mai 2004
Par Rudy Avila - Publié sur Amazon.com
Format: CD
Verdi's La Traviata is to many the definition of romantic opera. It's about tragic love, it's Verdi's most intimate and most personal opera. Verdi at the time was living unmarried with his lover and soon to be wife Giuseppina Strepponi, an opera singer. The music attests to the heartache and the passion that composes the bulk of the opera. On this recording, Beverly Sills sings the role of Violetta Valery and tenor Nicolai Gedda is Alfredo. Violetta and Alfredo are opera's most memorable lovers. Gedda and Sills both possess a charming, beautiful voice perfectly suited for the gentle lovers.
This recording is from the 70's. Beverly Sills had sung Violetta Valery more than 50 times and it was her first starring role. She knew the part like the palm of her hand. Her beautiful humanity in her voice alone presents us with the real Violetta- the noble courtesan/prostitute of Paris nightlife who sacrifices her own happiness for the sake of Alfredo's father. Beverly Sills has a "French voice" - her greatest vocal gift was to sing lengthy sustained melody and to dazzle the human ear with coloratura agility and high notes. But her Italian is nothing to laugh at. Her Italian is superb, especially in the bel canto category. As Violetta, she is the best. Her Act 1 highlights include the Brindisi (I have never heard any soprano, including Callas and Sutherland) sing it as "right" as Beverly Sills does it, and her solo showcase "A Fors E Lui" and the coloratura fireworks of "Sempre Libera". Beverly Sills is simply amazing, especially when she tops off the aria with that high note. The lyrical melancholy of the duet with baritone Roland Panerai, perfectly paired also, is excellent to hear. The finale is going to move you to tears from the "Addio Del Passato" to her dying exclamation "O Gioa!". This is the greatest ever made and I don't care that most will always flock to the Sutherland and Callas recordings. To my mind, it's not necessary to have a bigger voice or a diva status to be Violetta. Beverly Sills may not have been a diva, but she was the greatest actress of the opera in a way where most sopranos fail- connection with the audience and a spiritual relationship with the music.
15 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x8cf7627c) étoiles sur 5 You've Tried The Rest, Now Try The Best!!... 14 décembre 2002
L'évaluation d'un enfant - Publié sur Amazon.com
Format: CD
My fellow reviewers have passed good judgement on this particular recording of Verdi's La Traviata and agree that there is no finer interpretation. One can always make an argument. There is always the Maria Callas crowd, the hype surrounding her 50's performance in which she moved audiences to tears in her acting abilities as well as in-depth emotional characterization of Violetta Valery. There is no questioning Callas' dramatic prowess. She could have made a great Hollywood actress had she not prefered singing opera
There is also the pleasure listeners say they feel when they hear Anna Moffo, Joan Sutherland, Ileana Contrubas, Renee Fleming and most recently, Angela Gheorghiu.
Violetta, is of course, the hottest and most standard soprano role to perform. What soprano would not want to debut at the Met as Violetta Valery ? But PAY CLOSE ATTENTION TO THE NEXT ANALYSIS (eventhough you are likely to suspect that I'm an avid Beverly Sills fan). Beverly Sills sang the role in the same time frame as when her contemporary Maria Callas was singing this (50's, 60's) and is genuinely at paar with Callas in acting talent and artistic inflection. No other soprano knew the role better than Beverly Sills. She performed the role 54 times in the course of 63 days, each performance a knock-out crowd pleaser. Her portrayal of Violetta in this recording in 1971 has her at the zenith of her career (there is also another recording with the same conductor and cast available through Black Dog Opera Library in the format of book with illustrations and two cd's).
Next to Nicolai Gedda's passionate, but not stuffy, sophisticated portrayal as Alfredo (second only in greatness to Placido Domingo ) she sings masterfully in the Brindisi and duet "Un Di Felice". Note how she has an operetta heroine's charm and bubbly festive persona in all her lines in Act 1, including "Lo voglio! Al Piacer M'Affido Io Sol con tal farmaco i mali sopir !" how lyrical and melodiously (like a French singer would) she sings "A Fors E Lui" and how she masters the coloratura caballeta Sempre Libera, which she embellishes and ends with a dramatic high E flat note over a high C. In the long scene of her duet with Germont, she is moving as a woman in love and willing to sacrifice for that love, touching in her vocal lines in the aria "Ditte A La Giovine", and dramatic in "Morro! La Mia Memoria". Finally, in the last two acts, she is convincing as a woman who is genuinely impassioned and frightened for the plight of Alfredo during the party scene, particularily striking in the confrontation with Alfredo: Invitato A Qui Seguirmi !Her voice raises as beautifully as a fountain in her lines Alfredo, Alfredo" in " Di Questo Core Tu Non Conosce", which follows a great closing ensemble.
Finally, in the last act, she is fragile, deteriorating and fighting for her last breath to live happily with Alfredo and above all, a great dying scene. She sings Addio Del Passato like no other. Beverly Sills claims she would always practice this aria to keep her bel canto legato lines in good condition. The duet Parigi O Cara is well made and her "Gran Dio Morir Si Giovine " sensational. Her dying scene, from her lines "Ascolta, Amado Alfredo" to the final exclamation "O gioa!" are unsurpassed by any modern soprano to this day. Roland Panerai is unquestionably the best Germont and Aldo Ceccato orchestrates a poignant score, embellished with a European elegance and dramatic intensity when required. The chorus, led by John Alldis, is impressive, especially in "Si Ridesta in ciel L'Aurora", although the Jon Alldyis choir sounds remarkable in every opera they do. Buy this La Traviata please! It's not very talked about. That's why it's so great.
11 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x8cf76270) étoiles sur 5 I'm flabbergasted! 13 juillet 2003
Par Un client - Publié sur Amazon.com
Format: CD
I've heard so, so many Traviatas before, including Callas's, and none has touched me to the degree that this recording has. I put the CD(s) into my CD player and listened the whole way through until the very end, just completely absorbed into the most wondrous rendition of Violetta I've ever heard. After seeing some of these reviews I was curious as to whether this Traviata is really that great, and I began to wonder just who this Beverly Sills is. Well, after giving it a throrough listen now I think I know.
Beverly Sills's coloratura in the first act is top notch. She sings an exciting and breathtaking Sempre libera, complete with high E flat! And the expressions in her voice are very captivating. I truly felt the emotions Miss Sills wanted to convey. She sounds so full of life and party-going in this first act! So great! The second act was what pulled me the furthest into the recording. Has anybody heard such a sad rendition of the second act, as done by Beverly Sills in this recording? This brought tears to my eyes. Just listen to when Giorgio Germont tells Violetta he wants her to leave Alfredo. Notice how surprised, shocked, angered and saddened she is of this! Sills's timbre immediately turns melancholic, weepy, with vulnerability. And with a few climatic high notes, I can't express how heart-wrenching the effect of this singing is! Callas's violetta used to be my favorite, but after hearing this, Sills is now my favorite, because of expressive singing that she employs like this. Getting back, one can also feel the lightening of the voice Sills does when violetta agrees to leave Alfredo, and asks Mr. Germont what she ought to do and tell Alfredo. The voice is still very saddened, but there's an "okay, I'll accept it" tinge to the timbre now. Another deeply involving moment in second act is when Alfredo comes in and asks Violetta what she is doing (writing a letter to him). The most affecting part is when Violetta says "Alfredo, love me, love me, Alfredo, please love me". Sills voice here exhibits despair, and plea, and maintains that melancholic timbre of the voice. This is the second time my eyes teared up while listening to this recording. Then in the third act, Sills sings the most touching "addio, del passato". Violetta accepts that her death is near, and there's almost a peacefulness to this acceptance. Sills uses the perfect combination of lyricism, dynamics, and light crescendo to great effect in this aria. And of course, the ending is so dramatic. Sills sings fortissimo, "O gioia!!" and then violetta collapses and dies, with Nicolai Gedda shouting "violetta!!!!!".
Beverly Sills has become the main reason for my loving this recording, but the others do an excellent job as well. Nicolai Gedda's voice has grown on me a bit over the years, and hearing him as Alfredo is a great pleasure. He sings with emotions too, and I think he has the perfect voice for the role. What I especially love is the inclusion of "O mio rimorso". Gedda tosses off a ringing, exciting high C! WOW WOW WOW!!!
Rolando Panerai is one of the most authoritative Giorgio Germont I have ever heard. He is great and sings with much feeling throughout all his parts. Very convincing!
After hearing this Traviata I doubt I would ever find another that equals it, in terms of casting, voice match up, and acting. Also I'm glad I got to hear Beverly Sills. I believe she has more opera recordings that are available? I think she has a Lucia too. I will definitely see into it.
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