- Audio CD (April 10 2001)
- Number of Discs: 2
- Format: Live
- Label: Archiv Produktion
- ASIN: B00005AAFC
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: #31,693 in Music (See Top 100 in Music)
|
||||||||||||||||||||
|
||||||||||||||||||||
|
||||||||||||||||||||
Product Details |
Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. Act One: Scene 1: Introduction | |||
| 2. Act One: Scene 1: Le calme reparait | |||
| 3. Act One: Scene 1: O songe affreux! nuit effroyable! | |||
| 4. Act One: Scene 1: O race de Pelops | |||
| 5. Act One: Scene 1: Air: O toi qui prolongeas mes jours | |||
| 6. Act One: Scene 1: Quand verrons-nous tarir nos pleurs? | |||
| 7. Act One: Scene 2: Dieux! le malheur en tous lieux suit mespas | |||
| 8. Act One: Scene 2: Air: De noirs pressentiments | |||
| 9. Act One: Scene 3: Les dieux apaisent leur courroux/Act One: Scene 4: Et vous a vos dieux tutelaires | |||
| 10. Act One: Ballet | |||
See all 25 tracks on this disc
| |||
| Disc: 2 | |||
| 1. Act Three: Scene 1: Je cede a vos desirs | |||
| 2. Act Three: Scene 2: Voici ces captifs malheureux | |||
| 3. Act Three: Scene 3: Trio: Je pourrais du tyran tromper la barbarie | |||
| 4. Act Three: Scene 4: Duo: Et tu pretends encore que tu m'aimes | |||
| 5. Act Three: Scene 4: Quoi! je ne vaincrai pas ta constance funeste? | |||
| 6. Act Three: Scene 4: Air: Ah! mon ami, j'implore ta pitie! | |||
| 7. Act Three: Scene 5: Malgre toi, je saurai t'arracher au trepas! | |||
| 8. Act Three: Scene 5: Quoi? toujours a mes voeux vous etes insensible? | |||
| 9. Act Three: Scene 6: Puisque le ciel a vos jours s'interesse | |||
| 10. Act Three: Scene 7: Divinite des grandes ames | |||
|
See all 21 tracks on this disc
| |||
Product Description
From Amazon.com
Following the success of 1999's thrilling Armide, Marc Minkowski and his excellent cast fully convey the power and drama of Gluck's masterpiece. They pull you into the story (based on a play by Euripides) through the emotional truth of their interpretation. The opening quiet strings create an air of mystery dispelled by a ferocious storm magnificently conveyed by these early-music specialists. Within a few phrases of Iphigénie's opening lament, Delunsch creates a believable, sympathetic character. Keenlyside as Oreste and Beuron as his sidekick, Pylade, pack a ton of emotion into their singing, too. Minkowski takes chances, going for the emotional jugular in ways that some may find excessive. But the stakes involved for these characters are of the life-and-death variety, and this recording gets that across as no other does. A more contained version by Martin Pearlman's Boston Baroque on Telarc, boasting another outstanding Iphigénie in Christine Goerke, will appeal to those who find Minkowski overly forceful. I'd hate to be without either. --Dan Davis
Amazon.fr
La légende d'Iphigénie est le dernier épisode de la malédiction des Atrides, causée par Tantale qui offensa les dieux et duquel descendait Agamemnon, père d'Iphigénie. Iphigénie en Tauride, la tragédie lyrique de Gluck, est créée en 1779, à Paris, la même année que la pièce de Goethe. Le compositeur allemand, établi dans la capitale, depuis son Iphigénie en Aulide (1874), s'est inspiré d'Euripide pour raconter les retrouvailles d'Oreste et de sa sœur Iphigénie, au milieu des Scythes de Tauride. Par sa bonté et son désintéressement, Iphigénie s'affirme comme une sorte de figure christique, qui fait passer l'homme de la loi du talion à l'âge de la justice. Comme il l'avait entrepris dès Orfeo, en 1762, Gluck affirme ici la suprématie du drame sur la musique, rejetant les acrobaties vocales de l'opera seria italien, et met l'accent sur la psychologie des personnages. Le chef Marc Minkowski a su réunir une formidable équipe de chanteurs (dont la plupart figuraient déjà dans son enregistrement d'Armide de Gluck), respectueuse du texte et musicalement convaincante. Dans le rôle titre, la soprano Mireille Delunsch, bouleversante et totalement habitée, confirme son statut d'interprète d'exception. Simon Keenlyside (Oreste), Yann Beuron (Pylade), Laurent Naoui (Thoas) sont aussi irréprochables. Direction lyrique et vigoureuse, comme de coutume, de Marc Minkowski. --Franck Erikson
Tag this product(What's this?)Think of a tag as a keyword or label you consider is strongly related to this product.
Tags will help all customers organize and find favorite items. |
Customer Reviews
|
Share your thoughts with other customers:
|
||||||||||||||||||||||
|
Most helpful customer reviews
5.0 out of 5 stars
the ultimate recording,
This review is from: Gluck: Iphigénie en Tauride (Audio CD)
Minkowski and Les Musiciens du Louvre have done it again : there are few baroque ensembles who are able to bring so much life in a recording. Thanks to outstanding singing, playing and directing, this recording of Gluck's masterpiece (his best opera if you ask me !) is truly a theatre experience. This is much better than anything recorded before : the Muti/Scala Sony recording with Vaness was always a bit too "exotic", and the Boston Baroque for Pearlmann (with Goerke) are too boring for words. The Gardiner version (with modern instruments) on Philips was the only recommandable version so far, but Diana Montaigue is no match for Delunsch. What is more, the cast is outstanding. The soloists all have a perfect command of the language (Keenlyside, the only non-native speaker of the cast, included), and, what is more, a perfect understanding the verses they declaim : finally a recording that will not make French ears cringe. Naouri's bass, somewhat lacking in colour, might not be my favourite but is very suitable as the barbaric king Thoas. Beuron's Pylade is generous and moving. Keenlyside's portrayal of the tortured Oreste is breathtaking throughout : there is so much suffering in the voice. Delunsch, whom I found slightly distant in the concert hall, here just blows away any reservations I might have had : her Iphigénie is of classical grandeur and her singing superb... Listen to her big 2nd act aria with choir, the famous "O malheureuse Iphigénie..." and you will be sold ! If you are not moved, this is just not the work for you !
Share your thoughts with other customers: Create your own review
Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
5.0 out of 5 stars (3 customer reviews) 49 of 52 people found the following review helpful
5.0 out of 5 stars
the ultimate recording,
By "nicngu" - Published on Amazon.com
This review is from: Gluck: Iphigénie en Tauride (Audio CD)
Minkowski and Les Musiciens du Louvre have done it again : there are few baroque ensembles who are able to bring so much life in a recording. Thanks to outstanding singing, playing and directing, this recording of Gluck's masterpiece (his best opera if you ask me !) is truly a theatre experience. This is much better than anything recorded before : the Muti/Scala Sony recording with Vaness was always a bit too "exotic", and the Boston Baroque for Pearlmann (with Goerke) are too boring for words. The Gardiner version (with modern instruments) on Philips was the only recommandable version so far, but Diana Montaigue is no match for Delunsch. What is more, the cast is outstanding. The soloists all have a perfect command of the language (Keenlyside, the only non-native speaker of the cast, included), and, what is more, a perfect understanding the verses they declaim : finally a recording that will not make French ears cringe. Naouri's bass, somewhat lacking in colour, might not be my favourite but is very suitable as the barbaric king Thoas. Beuron's Pylade is generous and moving. Keenlyside's portrayal of the tortured Oreste is breathtaking throughout : there is so much suffering in the voice. Delunsch, whom I found slightly distant in the concert hall, here just blows away any reservations I might have had : her Iphigénie is of classical grandeur and her singing superb... Listen to her big 2nd act aria with choir, the famous "O malheureuse Iphigénie..." and you will be sold ! If you are not moved, this is just not the work for you !
8 of 8 people found the following review helpful
5.0 out of 5 stars
Exceptionnel,
By Constantin Declercq "Constantin Declercq" - Published on Amazon.com
This review is from: Gluck: Iphigénie en Tauride (Audio CD)
Cette version est la meilleure des versions officielles, et de très loin. Comme d'habitude Minkowski a le sens du théâtre et son orchestre accompagne parfaitement les sentiment exprimés que ce soit l'angoisse ou la méditation. Les chanteurs et les choeurs sont en symbiose parfaite avec cette vision de l'oeuvre, ce qui leur fait éviter le piège de la théâtralité froide. Mireille Delunsch est parfaite : elle compense ce qu'elle n'a pas en puissance (et que le rôle ne demande d'ailleurs pas) par une émotion et une intelligence du rôle rares. De toutes les chanteuses qui ont chanté Iphigénie elle est la plus émouvante et attachante. La clarté de son timbre et son phrasé participent à cette impression. «Ô malheureuse Iphigénie» en devient superbe de sensibilité et d'intensité. Les autres chanteurs sont aussi excellents.
20 of 26 people found the following review helpful
5.0 out of 5 stars
Heartbreakingly beautiful and powerful,
By Steven Guy - Published on Amazon.com
This review is from: Gluck: Iphigénie en Tauride (Audio CD)
Let's get a few things straight, alright?Christoph Willibald Ritter von Gluck couldn't write counterpoint if his life depended upon it. Yes, Handel was right about that. Herr Gluck's orchestrations are imaginative and colourful, but he was hardly an idiomatic writer of music for the instruments he chose. One could easily imagine him banging out tunes on his harpsichord over a few glasses of wine with his wife, Marianne, after dinner. Yet Gluck is a great composer. Why? Well, he wrote stuff like this. That's why. Why is Iphigénie en Tauride a masterpiece (I am sure it is)? Well, I think it is because of Gluck's sense of theatre and pace, word painting, harmony and melody. Gluck's music is simple and heartfelt music writ large and beautifully and effectively writ large. Gluck knew what he was doing even when he was simply covering up his weaknesses. This recording of Iphigénie en Tauride is, in a simple word, perfect. I bought this recording and I am profoundly satisfied with it. I will buy other recordings and DVDs of this work, but I am confident that none will ever surpass this this recording. Listen to "Ô malheureuse Iphigénie!" sung with incredible feeling and style by Mireille Delunsch and I am sure you will be sold. In this aria, constructed very simply, with off-the-beat strings and plaintive oboe solo, one can hear Iphigénie's misery upon learning of her family's death - she gets closer and closer to a nervous breakdown as the aria progresses. Gluck wasn't a technically great composer, but he understood human psychology and how to make it manifest in his music. Buy all of Minkowski's Gluck Paris operas, please. |
|
Listmania!
Look for similar items by category
- Music > Classical > Forms & Genres > Symphonies
- Music > Classical > Historical Periods > Classical (c.1770-1830)
- Music > Classical > Symphonies
- Music > Opera & Vocal > Historical Periods > Classical (c.1770-1830)
- Music > Opera & Vocal > Languages > German
- Music > Opera & Vocal > Operettas
- Music > Universal Classical Music
Look for similar items by subject
Feedback
Would you like to update product info or give feedback on images?
|
