OperaClamor ...(Join us at http://www.facebook.com/groups/366871503382109/ )

OperaClamor ...(Join us at http://www.facebook.com/groups/366871503382109/ )
MUSICA DE LOS OCHENTA: de 1680, 1780, 1880 y 1980 :-) Las mejores grabaciones de Opera, Musica clásica, Pop EuroDance, Carátulas Customizadas y más.

lunes, 3 de septiembre de 2012

OperaEsencial: OFFENBACH: Les Contes d'Hoffmann (Sills)

Ésta es, desde que apareció en CD, mi grabacion preferida de Los Cuentos de Hoffmann, por encima de la más divulgada de Sutherland. Y no sólo por la soprano, sino por la dirección y el resto de los intérpretes.
Offenbach - The Tales Of Hoffmann (Rudel) [2002]
EAC Rip | FLAC+CUE+LOG | 2CD | Full Scans + Libretto | 149 Min. | 736 MB
Label: Westminster The Legacy / Catalogue: 4712472GWM2 /
Opera / LP Originally Released in 1972

 Les Contes d'Hoffmann / Act 2 - "Les oiseaux dans la charmille"

This 1972 studio recording is the ultimate Tales Of Hoffman. The recording was originally an LP on the ABC label in the Westminster Legacy issues, but digitally remastered and edited for cd by Deutsche Grammophon. Deutsche Grammophone cd labels are famous for remastering legendary and classic recordings of classical music and opera and they have outdone themselves again with this one. It features virtuoso singers at the top of their game and the orchestra is directed under the baton of the seasoned conductor Julius Rudel.Singing the three heroines Olympia, Giuletta and Antonia is the incredible Beverly Sills whose dynamics are the real gem in this recording, singing the hopeless romantic Hoffman is lyric tenor Stuart Burrows and singing the diabolical villains is the unsurpassed baritone Norman Treigle. These same singers, among them mezzo soprano Susan Marsee in the role of Nicklausse and the Muse, have performed The Tales Of Hoffman many times and made it popular here in America, where it might have become obscure and neglected or rarely performed. But thanks to the efforts of Beverly Sills and her New York City Opera group, this opera is here to stay.
Jacques Offenbach's opera was drawn from three seperate stories by writer E.T.A. Hoffman ( a fantasy and horror novelist of the 19th century who was like the Stephen King of his day) The story follows the bohemian and unlucky-in-love poet Hoffman finally getting his one big chance at love when he receives a letter from the opera diva Stella to meet him at a bar. The scheming Councilor Lindorf (whom we are lead to believe is the Devil incarnate and who has ruined Hoffman's oppurtunities at love many times before) has intercepted the letter and decides to foil Hoffman's chance at love once more. Sure enough, Hoffman comes into the tavern and in his depressed mood, drinks himself under the table, but not before telling his melancholy tales of thwarted love. The first is a blind love with a robotic doll (Olympia)which is shattered when he realizes she was only an invention from the inventor he worked for, the second (Giuletta)with a materialistic Venetian courtesan who dumps him and the last, true love with the sickly daughter of a violin-maker and an opera diva (Antonia) who sings to her death.Beverly Sills, Stuart Burrows and Norman Treigle are the real strength behind this recording. They had performed together before in 1965, when they first launched the opera to New York City and to American audiences, including New Orleans. Stuart Burrows as Hoffman is a perfect combination of romantic despair, tender love and "tenor di grazie" lyricism- just listen to Burrows singing "O Dieu De Quelle Ivresse" and all of his duets with Beverly Sills. Norman Treigle's dark baritone vocal style is similar to Samuel Ramey. In fact, Norman Treigle most influenced Samuel Ramey. Norman Treigle was the lead baritone of the New York City Opera, an evil, diabolical timbre to his voice, sinister laughter and snarl in his voice makes him the best interpretor of the villains- Lindorf, Coppelius, Dappertuto and Dr. Miracle. Just listen to Treigle on fire in the arias - "Dans le role de amoreux", "Scintille Diamant" and his part in the trio in which as Dr. Miracle, he casts a dark spell over Antonia, who together with the ghost of her mother, is spurred to sing to her fatal demise.
Last but certainly not least, Beverly Sills. She is the best interpretor of the heroines. Everyone is free to make their own picks for favorites and for their choice of the best. The threesome roles have been performed by such celebrated artists as Joan Sutherland and Edita Gruberova. Beverly Sills has got to be acknowledged. She knew the three heroine parts even as a very young girl, her French diction was perfect and even enhanced by the fact she was fluent in the French language, her versatility is proven in the different type of singing for the Hoffman women-mechanical, wooden, comedic and full of firework coloratura as Olympia, seductive and cruel as Giuletta and hapless, romantic and frail as Antonia (her version of Elle e fui La Turterelle and her Death Scene with Dr. Miracle is by far the best). Kudos to Deutsche Grammophon for resurfacing this brilliant recording.

Fantasy opera in four acts and an epilogue by Jacques Offenbach
Sung in french.
96 Khz. 24 Bit Digitally Remastered in 2002

Olympia - Giulietta - Antonia - Stella : Beverly Sills
Hoffmann : Stuart Burrows
Lindorf - Coppelius - Dapertutto - Miracle : Norman Treigle
Nicklausse - La Muse : Susanne Marsee
John Alldis Choir
London Symphony Orchestra
Julius Rudel

Track Listing
CD 1
1. Prelude
2. Act 1 - "Glou! glou! glou! glou!"
3. Act 1 - Le conseiller Lindorf, morbleu!
5. Act 1 - "Deux heures devant moi!"
6. Act 1 - "Drig, drig, drig, maître Luther"
7. Act 1 - "Vive Dieu! mes amis, la belle créature!"
8. Act 1 - "Il était une fois à la cour d'Eisenach"
9. Act 1 - "Peuh! cette bière est détestable!"
10. Act 1 - Simple échange de politesses!
11. Act 2 - Entr'acte
12. Act 2 - Là! dors en paix
13. Act 2 - "Allons! courage et confiance!"
14. Act 2 - Par Dieu! j'étais bien sur
15. Act 2 - "C'est moi, Coppélius"
16. Act 2 - J'ai des yeux, de vrais yeux
17. Act 2 - Hein! Vous?
18. Act 2 - "Non, aucun hôte vraiment"
20. Act 2 - "Ah! mon ami, quel accent!"
24. Act 3 - Barcarolle "Belle nuit, ô nuit d'amour"
CD 2
1. Act 3 - Et moi, ce n'est pas là
2. Act 3 - Amis, l'amour tendre et rêveur, erreur!
3. Act 3 - Je vois qu'on est en fête
4. Act 3 - Scintille, diamant
5. Act 3 - Cher ange
6. Act 3 - Malheureux, tu ne comprends donc pas
7. Act 3 - Schlémil!
9. Act 3 - Ecoutez, messieurs
10. Act 4 - Entr'acte
11. Act 4 - Elle a fui, la tourtelle
12. Act 4 - Malheureuse enfant
13. Act 4 - Jour et nuit je me mets en quatre
14. Act 4 - Frantz!... C'est ici!
15. Act 4 - C'est une chanson d'amour qui s'envole
16. Act 4 - J'ai le bonheur dans l'âme!
17. Act 4 - Qu'as-tu donc?
18. Act 4 - Pour conjurer le danger
19 Act 4 - Ne plus chanter!
20. Act 4 - Tu ne chanteras plus?
21. Act 4 - Chère enfant! que j'appelle
22. Act 4 - Mon enfant! ma fille!
23. Epilogue - Entr'acte
24. Epilogue - Voilà quelle fut l'histoire de mes amours
25. Epilogue - Vidons les tonneaux!
26. Epilogue - Et moi? Moi la fidèle amie
27. Les Contes d'Hoffmann / Epilogue - Non, ivre mort
CD 1

CD 2

1 comentario:

  1. Este post lo publiqué yo ( JBGLX ) en Avaxhome , ya que me lo copia deberia ud. Manuel citar la fuente o agradecer al autor original .