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Verdi : Requiem - Quatre Pièces Sacrées

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Détails sur le produit

  • Chef d'orchestre: John Eliot Gardiner
  • Compositeur: Giuseppe Verdi
  • CD (5 février 2001)
  • Nombre de disques: 2
  • Label: Philips
  • ASIN : B00000418W
  • Moyenne des commentaires client : 4.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 31.653 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Descriptions du produit

ORGONASOVA / OTTER / GARDINER

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Composé en hommage au poète Alessandro Manzoni, le Requiem de Verdi correspond à la dernière manière d'écriture de son auteur. Créé en 1874, il prend place entre Aïda et Otello. C'est une Messe des morts spectaculaire, terrifiante dans la foudre de son Dies Irae, sereine dans la pureté salvatrice du Libera me. Réputé comme le moins triste et le plus théâtral des requiems, par opposition, notamment, aux douloureuses messes de Mozart ou de Fauré, la partition de Verdi fait appel à des effectifs orchestraux et vocaux grandioses, proches des moyens de l'opéra. Les solistes de la partition (soprano, mezzo, ténor et basse) affrontent d'ailleurs de redoutables tessitures. Gardiner a été le premier à enregistrer cette oeuvre sur instruments anciens, et il arrive à concilier cette approche musicologique passionnante à un enthousiasme jamais démenti. Dans la discographie très chargée du Requiem de Verdi, voici donc la nouvelle référence. --Pierre Massé

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Format: CD Achat vérifié
Dans le livret accompagnant ce coffret édité en 1995 par la luxueuse maison Decca, je vous invite à lire la passionnante notice intitulée "Réflexions sur le Requiem de Verdi" rédigée par John Eliot Gardiner qui explique de manière lumineuse pourquoi et comment il s'est "attelé" au projet de nous proposer une exécution de ce chef d'œuvre en se plaçant autant que possible dans les intentions et les souhaits de son génial créateur, avec son "Orchestre Révolutionnaire et Romantique"...
"(...) Verdi insistait également en ce qui concerne l'orchestre sur le besoin d'un équilibre entre les différentes parties des instruments à cordes, conseillant par exemple une proportion de contrebasses par rapport aux violons beaucoup plus grande que celle que l'on trouve aujourd'hui dans un orchestre symphonique.
"Mais les différences les plus frappantes que les auditeurs trouveront peut-être dans cet enregistrement par rapport aux sonorités qu'ils ont l'habitude d'entendre concernent les vingt-sept (27) instruments à vent demandés par Verdi.
"Dans le Requiem, l'écriture des bois est prodigieusement difficile, avec des gammes chromatiques rapides aux deux extrémités du registre, et quasiment impossibles à réaliser sur les instruments anciens, dont certains étaient utilisés en Italie.
"Les instrumentistes de l'Orchestre Révolutionnaire et Romantique utilisent des instruments qui étaient les plus modernes à l'époque de Verdi mais qui ont été depuis abandonnés ou "améliorés" par les facteurs d'instruments.
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18 commentaires 7 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Format: CD
C'est une très bonne entrée de gamme pour qui fuirait les (trop nombreuses!) versions vocalement trop "vribrotantes" voire "chevrotantes".
Il reste néanmoins encore de la place pour qui voudrait faire mieux... Notamment en raison de l'aspect technique de cet album (prise de son trop lointaine, ingénierie du son très perfectible).
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9c25d030) étoiles sur 5 13 commentaires
69 internautes sur 73 ont trouvé ce commentaire utile 
HASH(0x9b72bbdc) étoiles sur 5 Very impressive! 19 décembre 2000
Par Tom Gauterin - Publié sur Amazon.com
Format: CD
This is the first recording of Verdi's Requiem to be made using period instruments but, if that makes you wonder whether the sound produced will be a bit thin, think again! Having heard versions of this by Muti(both live and studio recordings), Karajan, Toscanini, Giulini and the late Robert Shaw, I have no doubt that this tremendous account by Gardiner stands head and shoulders above them all. The use of period instruments adds immensely to what is already a very dramatic piece- listen especially to the way the trumpets tear through the texture in the 'Dies irae' and 'Sanctus' sections. Gardiner, as he usually does, adopts very rapid speeds but never at the expense of clarity and accuracy; even so, he allows plenty of space for the more reflective sections of the work. As one might expect, the choral singing is second to none, with Gardiner's own Monteverdi Choir doing their usual marvellous job- even in the highest or most sustained passages, there is never any sense of strain. The recording balance brings the choir to the fore without compromising the impact of the orchestra in any way. The soloists are also excellent- instead of the the normal overdose of vibrato that the soloists in this piece tend to provide, the voices of all four soloists are firmly centred around the notes Verdi asks for! The soprano, Organasova, gives an especially impressive performance, singing the 'Libera Me' about as perfectly as one could hope for. She works well with von Otter and their blending of timbres demonstrates how rewarding the results of two soloists working together can be, rather than constantly trying to outdo each other. Alastair Miles gives a dark and immensely authoritative account of the bass solo, while Luca Canonici adds a welcome Italianate edge and flair to the tenor role. In short, this is as good a recording of Verdi's Requiem as there has ever been and deserves to stand as the first chice for years to come. Gardiner has said that he thinks it is his own very best recording and the results bear this assessment out; quite simply, it is a thrilling performance from beginning to end and deserves the highest praise.
32 internautes sur 34 ont trouvé ce commentaire utile 
HASH(0x9bccbfb4) étoiles sur 5 Maybe 'Classical' but Revelatory - and Orgonasova is supreme 16 novembre 2001
Par Matthew J. Williams - Publié sur Amazon.com
Format: CD
This recording has been the subject of equally passionate praise and denouncement. Some critics threw about words like 'classical' and 'unidiomatic'. They were not entirely unjustified, but after acquiring this recording of one of my favourite pieces of music, I no longer care. This is revelatory.
No other recording has such detail, such clarity, such remarkable presence. Phillips should be congratulated. Few other performances have no weak links. All the soloists are excellent, the choir & orchestra superb.
In particular, I cannot find enough superlatives for Luba Orgonasova. It is an endless mystery to me why this soprano is so scarce in the catalogue. In this role, at least, she reigns supreme. Schwarzkopf; Studer; Stader; Sutherland; Scotto - all the "S" sopranos seem to have sung this! - Price; Gheorghiu; Caballe; Freni, the list goes on, NONE of these excel Orgonasova in this part. Verdi made incredible demands on his soprano soloist and the far lesser-known Orgonasova meets those demands better than any in this illustrious company.
The key to her success is that she has a strong chest voice which is properly integrated tonally with her head voice. To understand what I mean, just listen to that crucial part in the Libera Me (Requiem Aeternam), where she floats a high B which is truly pianissimo, followed by the ferocious recapitulation of the Libera Me culminating in the word "terra", which so many sopranos either under-power, or resort to a distortion of tone. Not Orgonasova. This is one phenomenal instrument.
The other aspect of this recording where its quality has the edge over all the competition is in the remarkable integration of Orgonasova and Von Otter's voices in the Recordare & Agnus Dei. No other recording I have heard blends the two parts so perfectly - almost like one singer who can sing in harmony with herself!
For buyers who can afford a few recordings, this may be an excellent complement to a more operatic recording (I would recommend the intermittently-available live 1960 Fricsay - don't confuse with his studio recording) and/or the great Giulini with Schwarzkopf; Ludwig; Gedda; & Ghiaurov, now at mid-price on EMI Great Recordings of the Century. The present recording is full price over two discs; which may deter the budget conscious, but it is well worth it for anyone who cares to know this music intimately, to have its mastery revealed afresh.
36 internautes sur 39 ont trouvé ce commentaire utile 
HASH(0x9bccb57c) étoiles sur 5 Gardiner or Shaw: A difficult choice 8 août 2002
Par David and Jane Cohen - Publié sur Amazon.com
Format: CD
Verdi's mass for the dead is one of my favorite pieces in the western canon, so I've collected a few over the years. You can read the other reviews for poetic waxing on the themes and scope of this work, but I will concern this review with the musical and performance merits of two specific recordings: the best period performance (Gardiner's, albeit the only one) and arguably the best modern performance (recorded by the regrettably late Robert Shaw, and there are some other moderns in close contention).
I won't make you read the entire review to get my take: I prefer the Gardiner/ORR recording to the Shaw/ASO for the simple reason that there is more fire, drive, dynamic, or other related adjective involved in this performance than any other.
Gardiner's players are absolutely deadly - you need look no further than tracks two and three for evidence of that! The tempi, while quite brisk, do not daunt this remarkable ensemble, and they play with an astounding precision. 50 percent of that credit is due, however, to Gardiner's outstanding conducting (most/all of his recordings with just about any group are staggeringly precise - check out The Planets with the Philharmonia!).
The choir, being the Monteverdi Choir, sings an incredible performance, but using far more vibrato than is normally heard from them - consistent with the style of the work. Their technique and facility equal that of the orchestra: a combination that is difficult to beat.
The tempi, taken as literally from the score as possible, are faster than we normally hear (by lesser ensembles) so, some listeners may feel that the music is not given enough time to breathe, or that it is too fast to comprehend. Enter Dr. Shaw...
Robert Shaw's outstanding account of this requiem has an incredible asset: phrasing unparalleled in any other recording. Under the guidance of the best choral conductor of his time, the Atlanta Symphony Chorus responds to their director's brilliant musicality with aplomb. His superb vocal phrasing transfers well to the strings too. Every phrase has a top and bottom, and he exposes many textures that other conductors do not.
But, Shaw's larger, less agile, and more-distantly miked ensemble do not capture the immediacy that Gardiner's does. Compounded with a slower performance, Shaw's - while breathtakingly beautiful - does not have Gardiner's impact.
So here's my recommendation: purchase Gardiner for the recording quality, tempo, orchestra, perferable choir, and effect. Purchase Shaw for the contemplative setting, outstanding choral phrasing/conducting, and superior soloists. Really, purchase both when you can.
But to feel the true power and effect of Verdi's opera for church, Gardiner's is the one to get.
12 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x9c1431a4) étoiles sur 5 Superb Requiem performance, Quattro Pezzi Sacri unforgettable 14 avril 2007
Par pyramidcvv - Publié sur Amazon.com
Format: CD Achat vérifié
This is one fantastic recording of the Verdi Requiem. As previous reviewers have mentioned, the Monteverdi Choir (69 members strong) produces a powerful sound that easily holds its own against the bigger choirs. The Orchestre Revolutionnaire et Romantique uses period instruments, but you won't hear the tinny sound, vibrato-less strings, or the over-miked percussion of typical period instrument CDs. This orchestra sounds every bit as good as the "modern" orchestras that have recorded the Verdi Requiem. And they have a GREAT bass drum!

The soloists are not the blood & guts Verdians that many listeners associate with this piece. The liner notes by John Eliot Gardiner include a reference to Verdi's letter to Ricordi in which he adamantly cautions against singing this work like an opera. It is not surprising, then, that a scholarly conductor like Gardiner would choose soloists that would match Verdi's own desires.

Luba Orgonasova (born in Bratislava, Slovakia) is a lyric soprano much in demand in Europe. She was personally invited by Karajan to co-star in 1990 Salzburg Festival's Fidelio (the production was conducted by Kurt Masur following Karajan's death). In Verdi's Requiem, she provides a sound that shimmers like glass. Her high B-flat in Libera Me is almost vibrato-less, creating a pure crystalline sound.

Anne Sofie von Otter (1955 - , Stockholm, Sweden) is well-known among American and European audiences alike. In addition to her many trouser stage roles, she has extensive recordings of oratorio literature. Her Verdi Requiem is totally without theatrics. The music is all you get - and that's good enough for me.

Luca Canonici (1961 - , Tuscany, Italy) is a lyric tenor not very well-known outside of Europe. His recordings include Donizetti's Linda di Chamounix, Bellini's La Sonnambula , Rossini's Il Signor Bruschino, and Verdi's Falstaff (Solti). His Requiem is also devoid of theatrics, much like Gedda's (Giulini) and Araiza's (Hanns-Martin Schneidt). His Ingemisco did not please me at first, but I gradually grew to enjoy it with additional hearings.

Alastair Miles (1961 - , UK), bass, is a superstar in England. He made his Metropolitan debut in 1996. He has a beautifully resonant sound that reminds me of Simon Estes (Hanns-Martin Schneidt). Okay, he's not Ghiaurov (Karajan, Giulini) or van Dam (Karajan), but I really enjoyed how he sang this Requiem.

The Monteverdi Choir gives a totally stunning performance of the Quattro Pezzi Sacri. The fine work of the orchestra adds to the sonic grandeur of the singers. This is definitely one of my all-time favorite recordings of this work.

I was highly pleased with the recorded sound; it is one of the main reasons why I love this album. Liner notes include texts and translations, names of all orchestra and choir performers, artist photos, and essays by Julian Budden and Gardiner. This album was recorded Dec 1992 in London.

While I highly recommend this album, I realize its high price may deter some. But try to get it if you can.
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x9c14345c) étoiles sur 5 Magnificant 7 octobre 2003
Par Avid Reader - Publié sur Amazon.com
Format: CD
This is absolutely glorious music. The Requiem Mass of Verdi has long been a favorite for both listeners and vocalists and is now acquiring a semi-popular following. The only limitation to even more public performances is the extraordinary length. What is even more remarkable about this deeply moving piece is that Verdi himself was not a religious man though being Italian the Church must have made a deep impact on his psyche.
The synthesis of the orchestra and chorus is near perfect and the tempi are just right. Many times one hears parts of the Mass taken at near neck-break speed and other parts at a near standstill. The depths of the emotional range is astounding - from the thundersou blasts of the Dies Irae to the mournful, languid, rapturous Lacrymosa to the piercing sopranas and warm altos - it is the kind of music that comes along rarely.
The sound is sterling, the acoustics just as clear. I liked the informative accompanying pamphlet with the original (Latin) words along with a translation as opposed to a transliteration. Add this to your collection.
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