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Vivica Genaux ~ Arias for Farinelli CD, Import

5.0 étoiles sur 5 1 commentaire client

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Page Artiste Vivica Genaux


Détails sur le produit

  • CD (12 avril 2002)
  • Nombre de disques: 1
  • Format : CD, Import
  • Label: Harmonia Mundi Classique
  • ASIN : B0000646XA
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 88.286 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Amazon.fr

Nicola Antonio Porpora, Riccardo Broschi, Geminiano Giacomelli, Antonio Porpora, Johann Adolf Hasse...tous ont écrit pour Farinelli, héroïque castrat du XVIIIe siècle ressuscité à la faveur d'un film récent. Dans un brillant texte d'accompagnement, René Jacobs rappelle fort à propos que si la voix de castrat représentait l'assouvissement symbolique de fantasmes d'androgynie, on oublie trop souvent que le contralto féminin, spécialisé dans les rôles de travestis, était également une voix "androgyne" très appréciée. L'appropriation par Vivica Genaux de ces airs écrits pour Farinelli semble dès lors idoine : la grande qualité de sa projection vocale, la transparence de son timbre finissent par nous ranger à cette idée. --Pierre Guillaume


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Format: CD
Se donner la mission, pour un premier récital au disque, de faire revivre l'art de Farinelli, et y réussir avec autant de brio, mieux que personne auparavant, relève tout bonnement de l'exploit. En plus, on découvre ici des pièces d'une beauté renversante, qui n'ont rien à envier aux plus beaux airs de Handel. La virtuosité ne fait jamais obstacle à l'émotion, contrairement à ce que l'on pourrait craindre. Écoutez l'air du rossignol qui clot le disque : quatorze minutes de vocalises délirantes, et pas un moment d'ennui, pas un moment de flottement... Non, Vivica Genaux n'est pas une star préfabriquée, le nouveau poulain d'une compagnie qui cherche à mousser ses ventes, comme on pouvait le craindre, mais bien une très sérieuse concurrente pour Cecilia Bartoli!
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x8e9596e4) étoiles sur 5 16 commentaires
40 internautes sur 43 ont trouvé ce commentaire utile 
HASH(0x898c8120) étoiles sur 5 The most satisfying CD purchase I think I've ever made 3 février 2003
Par Raven - Publié sur Amazon.com
Format: CD
While people informed in music history and historical performance debate the merrits of whether the voice is authentic, or whether its qualities are the match of legends like Marilyn Horne, the fact remains for me that I have never been so satisfied with a baroque music CD purchase. The quality of the music is incredible, all these composers were contemporaries and even rivals of Handel, yet lost to history as vocal composers until recently. The players and conductor bring life to the scores with sensitive, imaginitive, and highly sophisticated playing. I enjoyed every aspect of the recording, including the instrumental tracks. They are lively and interesting, yet also historically informed, and have a rightness to the sound that is lacking in a lot of the less enthusiastic recorded performances.
The singer, Genaux, possesses a voice surprisingly similar in timbres to the electronically blended sound on the Farinelli soundtrack. While a little grainy or edgy in parts of her range, it has the burnished warm sounds that float and are easy throughout much of the very difficult tessitura. These is a terrific activity or direction in all the coloratura that is never rushed or pushed in tempo, but keeps moving forward and gives shapes to the very long florid lines. The long stretches of the cantabile arias are wrapped in velvet and have several heart-stopping moments.
It is not hard to understand why these arias were the purview of one of the greatest singers of a bygone age, what is hard to understand is why this music has been missing from the repertoire for so long. Also, when considering the voice of the castrato, it is important to remember that they were boy sopranos originally, whose mutilation maintained their pre-pubecent vocal condition of "falsetto". However, the real facility of their voices came from very long years of incredibly rigorous vocal and musical training, castrati often were already a part of the conservatorios before their mutilation. This training cultivates the head voice in ways that only few of the modern day countertenors have achieved. It is wrong to think that the sound is vastly different from countertenors, and that the clarity of the female voice is the only comparison.
Whatever the problems with the album, it is a fantastic performance, more perfect than any other that I for one have ever heard, it still can be ranked with a landmark recording, one that can be held up with those of the legends.
34 internautes sur 37 ont trouvé ce commentaire utile 
HASH(0x898c8174) étoiles sur 5 Impossibly Beautiful - A Talent for All Time 9 janvier 2003
Par Lawrence Landis - Publié sur Amazon.com
Format: CD
While it's easy to go on and on when a performance has problems, praising a perfect one runs the risk of sounding too cloying; yet, Vivica Genaux has given us just that - a perfect performance. These arias were originally written for Farinelli, greatest of the castrati. As such performers are no longer among us, some would say we'll never know what Farinelli sounded like. Well, who cares - we have Vivica Genaux. This must be the most pyrotechnic vocal recording ever made - Genaux goes through these arias seemingly without breathing and without a misstep or a bad note. Faultless, flawless, complete perfection...while in the future other mezzos may record these pieces, I cannot imagine anyone will ever do them better. We can only wish her a long career, though that she will ever top this performance seems quite impossible to believe. Genaux's technique is absolutely perfect, and her voice divine. I, for one, feel blessed to be alive not only when Vivica Genaux performs, but when those performances are so easily available. I wait - impatiently - for her next album, and have already ordered her previous ones.
No small credit should be given also to Rene Jacobs and the wonderful musicians of the Akadamie fur Alte Musik Berlin. Indeed, they are the instrumental equals of both Genaux's voice and her technique.
I have read other reviewers who have said that Rene Jacobs waited for twenty years to find someone with a voice to handle these arias, and that the world waited two hundred and twenty - since Farinell's death. Well, the wait is over, and we are the lucky ones!
Simply put, if I were stranded on the proverbial desert island, and could only take, say, five CDs, please believe this would be one.
39 internautes sur 44 ont trouvé ce commentaire utile 
HASH(0x898c85ac) étoiles sur 5 Finally these arias sung in a way that can move the heart! 20 juin 2003
Par BDSinC - Publié sur Amazon.com
Format: CD
I was quite excited to hear this CD when I saw it. I have listened to a number of "Farinelli Arias" disks, and to tell the truth really saw no merit in the music at all, at least how it was performed. However, I have studied this music for decades, and having many fine transcriptions of Farinelli's embellishments, I have always wondered what these arias would sound like when sung well. It was a revelation.
I would suggest that everyone who listens to this CD begin by reading the very long, but very informative, explanations of the Castrato voice, and of Farinelli himself. There is a wealth of information, including how voices were trained, and what voices were used to trade off when a castrato soprano was not available. COUNTERTENORS were NEVER used. They existed, but they simply didn't have the sound that compared. The usual choice for composers was a FEMALE CONTRALTO with a good upper range. This upper range was not like we think of high notes today. In fact, no singer until the end of the 1880's had high notes like we are used to today. Their upper notes were very penetrating, but not super loud. The strength of the voice was its chest and lower notes. Most Castrati sang well, even to very strong powerful notes over an octave below middle C, and were still called "sopranos."
Looking at the scores of these pieces, you will not find one high note written there, and those that do venture above the staff are very quickly sung. However, most all of the pieces venture below the staff, and often start a phrase as low as the A below middle C. If one looks at Farinelli's own embellishments, one hardly ever sees him venturing above a high A and then very quickly. In his youth he may have had a High F but he never would have used it the way we expect singers like Joan Sutherland to sing it.
So, if we can just get over a few things we have been conditioned to think (which are completely wrong) that the countertenor voice has any resemblance to the Castrato (which it doesn't; composers of the period have proven through their choices a contralto or dark mezzo represented far more accurately the castrato voice), that voices sang with no vibrato (they did, and it gave warmth to the music, that is why eventually string players learned to use a vibrato, we have used instrumental technique, which were decades behind vocal technique, to decide how vocalist sang, organs as early as 11 hundred were built with a "la Voce" stop, which actually played two notes back and forth to immitate a vibrato, so obviously the voice did vibrate), and that the castrato has some super human capacity for volume (their breathing and focus training was unique to them, and often not taught to other singers of their day; women worse corsets and so their breathing was shallow, but what they were trained to do is commonly done today for most singers, so their volume would have compared to our more modern sound, only their high notes would not have been anywhere as loud as we are used to hearing).
If we are willing to learn from facts, then we will be ready to listen to this performance. What we hear is a wonderful singer doing a wonderful job with music that is very difficult to sing. It would have been nicer if her voice was more powerful in the lower reaches, for much of the music is quite low. Most of her embellishments are authentic to the times, but only one piece actually uses all the embellishments that were used by Farinelli himself, and that is the last piece, "Quelle'Usignolo." This disk was a really refreshing experience. It was wonderful to finally hear the words when the vocal line was lower, rather than the nasal twang the countertenors often bring to it, and nice to hear upper notes that actually came forth easily. It was nice to hear warmth to a voice singing this music, rather than something akin to scratching ones fingernails down the blackboard. It was nice to hear some "presence" some "personality" in the music, which more often than not it never has. As Vivica Genaux's voice grows and darkens, if she never loses her wonderful agility, then she truly will give this music the life it desperately needs to take it out of the frozen museum piece prison it has been relegated to in the more "authentic recordings" we are often subjected to.
18 internautes sur 22 ont trouvé ce commentaire utile 
HASH(0x898c8978) étoiles sur 5 Fantastic!!! A star making effort! 11 septembre 2002
Par Un client - Publié sur Amazon.com
Format: CD
An absolutely hair raising experience. Where has Vivica Genaux been hiding all these years? Her technique is beyond reproach and the ornamentation will take your breath away. As a baroque opera lover, I more than welcome this fantastic album. Those weaned on Cecilia's pyrotechnics (I love her, too) will find a different, yet equally thrilling alternative in Ms. Genaux. I eagerly await her "Rinaldo," also with Rene Jacobs, which is to be released later this year by Harmonia Mundi.
11 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x898c8708) étoiles sur 5 Beautiful technique, coupled with Baroque sensitivity... 4 novembre 2005
Par B. DeSilva - Publié sur Amazon.com
Format: CD
Being a counter tenor myself, I am often quite critical and picky with my Baroque recordings... counter tenors are never quite good enough for my tastes, and women are never quite androgynous enough for my tastes either. What can I say? I'm never satisfied... until now. Vivica Genaux has made such a beautiful recording, and such a moving tribute to one of history's greatest musical celebrities. Her tone is pure and androgynous enough to conjure our imaginations' best thoughts of what the great castrati may have sounded like, and yet there is still a warmth and spin in her voice. The coloratura is stunning... just as agile and articulated as Bartoli, but without the awkward and tense stoppage between notes. Genaux sings this music both as if she had worked on it since birth and yet as if it were second nature! Fabulous... this album is shaping up to be my very favourite baroque recording!
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