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Verdi: Nabucco

Verdi: Nabucco

By Deutsche Grammophon
価格(税込): ¥ 3,074
国内配送無料
Nabucco was Verdi's third opera, and it's filled with one great, energy-filled melody after another; if the drama is a bit crude (the characters are one-dimensional at best), the emotions are sincere and the passions run high enough to make one forgive Verdi's youthful enthusiasm. The role of Abigaille, Nabucco's evil daughter, is a voice-wrecker, but the animal-like Ghena Dimitrova sounds as if she could sing it in her sleep. She hurls the high Bs and Cs at us as ferociously as the Bs and Cs two octaves lower--this is a stunner of a performance. As the title character, Piero Cappuccilli sings with his usual big, unsubtle tone; one wishes for more sensitivity. Placido Domingo, who will apparently sing anything written in the tenor clef, makes as much of the little part of Ismaele, and bass Evgeny Nesterenko fills out the High Priest's music superbly. Giuseppe Sinopoli's leadership is probing, nuanced, and, when needed, as big as all outdoors. This is a pip of a performance, highly recommended. --Robert Levine


Enigma Variations

Enigma Variations

By Polygram Records
新品出品価格: ¥ 3,941
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Tannhauser

Tannhauser

By Deutsche Grammophon
価格(税込): ¥ 3,687
国内配送無料
Another Paris Tannhäuser recording, this one seeing the adaptable Plácido Domingo take a break from the world of Italianate opera to try on the mantle of Heldentenor. Domingo's clear, manly voice is well suited to the transformation--precisely why Italians usually don't think of him as a bella voce. Agnes Baltsa approaches the role of Venus in a less shrill and more human manner than often is heard in portrayals of the excitable goddess. The sound is exceptionally clear in the recording, a comparatively newer digital mastering from the late 1980s. The chorus work is good, though not quite on the sublime plane reached in the Georg Solti recording. Giuseppe Sinopoli conducts the Philharmonia Orchestra and the Chorus of the Royal Opera House, Covent Garden, in a measured, stately manner. --Christian C. Rix


Salome

Salome

By Deutsche Grammophon
価格(税込): ¥ 2,753
国内配送無料


Orchestral Works

Orchestral Works

By Elektra / Wea
新品出品価格: ¥ 10,000
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Puccini: Tosca

Puccini: Tosca

By Deutsche Grammophon
価格(税込): ¥ 2,380
国内配送無料


Verdi: La Forza Del Destino

Verdi: La Forza Del Destino

By Deutsche Grammophon
新品出品価格: ¥ 38,025
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Elektra

Elektra

By Deutsche Grammophon
新品出品価格: ¥ 6,879
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Strauss: Ariadne auf Naxos (Sinopoli Last Opera Recording)

Strauss: Ariadne auf Naxos (Sinopoli Last Opera Recording)

By Deutsche Grammophon
新品出品価格: ¥ 16,188
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Recorded in Dresden in December 2000, this new version of Strauss's Ariadne has become by default the last will and testament of Giuseppe Sinopoli. On April 20, 2001, the Venetian maestro collapsed in the middle of a performance in Berlin, victim of a heart attack at age 54. Since 1992, he had been principal conductor of the prestigious Dresden Staatskapell, which undertook a privileged collaboration with Richard Strauss himself in premiering nine of the composer's operas. There's no surprise, therefore, in the excellence exhibited by the orchestra on this recording, under the baton of a man who also had much experience in the works of Strauss.

Given its final version in 1916, Ariadne auf Naxos abandons the excess of Salome and Electra, orienting itself toward neoclassicism in its juxtaposition of the world of antique opera seria with that of the commedia dell'arte. The Prologue--with its theater within the theater setup--is a playful treatment of the theme of art versus reality and of sublime love versus frivolity, represented by the opposition between a young composer (Anne Sofie von Otter) and a saucy comedian, Zerbinetta (Natalie Dessay). The cast assembled here is exemplary and basically not to be surpassed today, with Deborah Voigt in her famous turn as the title character and Ben Heppner as Bacchus. --Franck Erikson



Stabat Mater

Stabat Mater

By Dg Imports
価格(税込): ¥ 1,675
国内配送無料
Like Mozart writing his Requiem, this live recording of Dvorak's Stabat Mater has taken on great significance being released in the weeks following the death at 55 of the conductor Giuseppe Sinopoli in May 2001. It is a massively portentous performance given with the Dresden Staatskapelle. Five searing climaxes surge through the opening movement after the bleakest of openings. The quartet of soloists spars dramatically in the "Quis est homo"--there is real curiosity in their desperate questioning. Chorus and tenor Johan Botha present the beautiful "Fac me tecum" melody as if it were the "Ode to Joy". The bass Roberto Scandiuzzi has the pondering voice of an elderly judge. There is wisdom in his dryness. Mezzo Ruxandra Donose sings the "Inflammatus" with fluid weeping tone. The Chor der Saechsischen Staatsoper Dresden embraces the choruses with considerable passion. The choristers are strong and unstraining in the "Eja mater", floating the quiet passages with well-supported whispering tone. By the time the finale comes round, they are sounding pretty tired but that is the nature of the work. The mood is drained. You cannot hear the audience but you can feel them. The world has lost a conductor who could create an atmosphere. --Rick Jones


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