Tosca (Complete) (Comp)
Katia Ricciarelli
(アーティスト),
Jose Carreras
(アーティスト),
Ruggero Raimondi
(アーティスト),
Berlin Deutsche Oper Chorus
(Choir),
Herbert Von Karajan
(指揮),
Berlin Philhamonic
(オーケストラ)
&
3
その他 形式: CD
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ページ 1 以下のうち 1 最初から観るページ 1 以下のうち 1
曲目リスト
ディスク: 1
1 | Act One: 'Ah! Finalmente!' - Gottfried Hormik/Fernando Corena/Jose Carreas |
2 | Act One: 'Recondita Armoni' - Jose Carreras/Fernando Corna |
3 | Act One: 'Gente la Dentro!' - Jose Carreras/Gottfried Hornik/Katia Ricciarelli |
4 | Act One: 'Mario! Mario! Mario! - Katia Ricciarelli/Jose Carreras |
5 | Act One: 'Ah, Quegli Occhi!'/'Qual Occhio Al Mondo' - Katia Ricciarelli/Jose Carreras |
6 | Act One: 'E Buonala Mia Tosca' - Jose Carreras/Gorrfried Hornik/Fernando Corena/Chor Der Deutschen Oper Beliner/Karajan |
7 | Act One: 'Un Tal Bacano in Chiesa!' - Ruggero Raimondi/Fernando Corena |
8 | Act One: 'Tosca? Che Non Mi Veda'/Mario? Mario?!' - Ruggero Raimondi/Katia Ricciarelli/Fernando Corena |
9 | Act One: 'Ed Io Venivo a Lui Tutta Dogliosa' - Katia Ricciarelli/Ruggero Raimondi |
10 | Act One: Tre Sbirri... Una Corrozza...' - Fernando Corena/Heinz Zedmik |
11 | Act Two: 'Tosca E Un Boun Falco!' - Ruggero Raimondi/Victor Van Halem |
12 | Act Two: 'Ha Piu Forte Sapore' - Ruggero Raimondi/Victor Van Halem/Heinz Zedmik |
13 | Act Two: 'Meno Male!' - Ruggero Raimondi/Jose Carreras/Ghor Der Deutschen Oper Berlin/Schoneberger Sangerknaben |
14 | Act Two: 'Dov'e Angelotti?' - Ruggero Raimondi/Jose Carreras/Heinz Zedmik/Katia Ricciarelli |
15 | Act Two: 'Ed or Fra Noi Parliam Da Buoni Amici' - Ruggero Raimondi/Katia Ricciarelli |
ディスク: 2
1 | Act Two: 'Scarrone: Che Dice Il Cavalier?' - Ruggero Raimondi/Victor Van Halem/Katia Ricciarlli/Jose Carreras |
2 | Act Two: 'Orsu, Tosca, Parlate' - Ruggero Raimondi/Katia Ricciarelli/Jose Carreras/Heinz Zedmik |
3 | Act Two: 'Nel Pozzo... Nel Giardino... ' - Katia Ricciarelli/Ruggero Raimondi/Victor Van Halem/Jose Carreras |
4 | Act Two: 'Nel Pozzo Del Giardino! Va, Spoletta!' - Ruggero Raimondi/Jose Carreras/Victor Van Halem |
5 | Act Two: 'Se la Giurata Fede Devo Tradir' - Ruggero Raimondi/Katia Ricciarelli |
6 | Act Two: 'Vissi D'arte' - Katia Ricciarelli/Ruggero Raimondi |
7 | Act Two: 'Vedi... Le Man Giunte Io Stendo a Te!' - Katia Ricciarelli/Ruggero Raimondi/Heinz Halem |
8 | Act Two: 'E Qual Via Scegliete?' - Ruggero Raimondi/Katia Ricciarelli |
9 | Act Three: 'Io De' Sospiri Te Ne Rimanno Tanti' - Wolfgang Bunten |
10 | Act Three: 'Mario Cavaradossi? a Voi' - Victor Van Halem/Jose Carreras |
11 | Act Three: 'E Lucevan Le Stelle' - Jose Carreras |
12 | Act Three: 'Franchigia a Floria Tosca...' - Jose Carreras/Katia Ricciarelli |
13 | Act Three: 'O Dolci Mani Mansuete E Pure' - Jose Carreras/Katia Ricciarelli |
14 | Act Three: 'E Non Giungono...' - Katia Ricciarelli/Jose Carreras/Victor Van Halem |
15 | Act Three: 'Come E Lunga L'attesa!' - Katia Ricciarelli |
16 | Act Three: 'Presto, Su! Mario! Mario! Su, Presto!' - Katia Ricciarelli/Victor Van Halem/Heinz Zedmik |
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.22 x 1.02 x 12.45 cm; 113.4 g
- メーカー : Deutsche Grammophon
- EAN : 0028941381521, 0797803746821
- 製造元リファレンス : 028941381521
- レーベル : Deutsche Grammophon
- ASIN : B000001G5K
- ディスク枚数 : 2
- Amazon 売れ筋ランキング: - 243,944位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 3,416位オペラ・声楽 (ミュージック)
- - 64,747位輸入盤
- カスタマーレビュー:
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
TT2211
Amazonで購入
プッチーニはオーケストレーション重視の人なので、それなりに音は良くないとだめだ。そうなるとスタジオ録音と高機能オーケストラというのは強力な武器となる。その点、アナログ録音の最後期、1979のスタジオ録音、カラヤンとベルリン・フィルハーモニーという組み合わせは合理的な選択だと思う。1962のウィーンフィルとのスタジオ録音というのも好ましい選択だ。カラヤンファンは迷いなく両方手にいれるのが、自然なことと言えよう。 この2つのどちらがいいのだろうか、わからない。どちらもそれぞれ良さがあるのである。
オペラ対訳プロジェクト河川局
リブレット日本語対訳は付属していませんが、「トスカ 対訳」で検索すると、無料の対訳がみつかります。
【配役】
カーティア・リッチャレッリ(トスカ)
ホセ・カレーラス(カヴァラドッシ)
ルッジェーロ・ライモンディ(スカルピア)
ゴットフリート・ホーニク(アンジェロッティ)、他
ベルリン・ドイツ・オペラ合唱団
シェーネベルク少年合唱団
ベルリン・フィルハーモニー管弦楽団
ヘルベルト・フォン・カラヤン(指揮)
録音:1979年(ステレオ)
【配役】
カーティア・リッチャレッリ(トスカ)
ホセ・カレーラス(カヴァラドッシ)
ルッジェーロ・ライモンディ(スカルピア)
ゴットフリート・ホーニク(アンジェロッティ)、他
ベルリン・ドイツ・オペラ合唱団
シェーネベルク少年合唱団
ベルリン・フィルハーモニー管弦楽団
ヘルベルト・フォン・カラヤン(指揮)
録音:1979年(ステレオ)
Hiro Nishikiori
音質もよく、キャストも言うことなし。何回聴いても飽きませんね。傑作CDです。
乃亜マニアTK
Amazonで購入
フォン・カラヤンのプッチーニ録音の中ではもっとも成功していない。オーケストラが暗く響き、主役歌手三人の声量の不足がオーケストラの猛威に晒されている。これは、デッカの旧盤のほうが遥かにバランスがとれ良かった。特に、ソプラノとテノールは、いずれもドラマティコでもスピンとでもないので、この役柄は難しかったようである。
他の国からのトップレビュー
Edgardo Campana
5つ星のうち5.0
Karajan y Tosca
2018年11月21日にアメリカ合衆国でレビュー済みAmazonで購入
Tosca muy femenina de Ricciarelli, Carreras excelente y Raimondi canta el papel de Scarpia sin excesos.
Bonaccione
5つ星のうち5.0
Eccellente
2020年11月8日にイタリアでレビュー済みAmazonで購入
Ottima incisione tecnica ed ottima interpretazione!
Salieri
5つ星のうち5.0
A Supreme Tosca
2017年4月3日に英国でレビュー済みAmazonで購入
I have first to confess to not being a dedicated Puccini person (I am more of a Verdi person), but when I learned of the availability of this recording via Amazon, being a devoted Karajan fan, I felt I must indulge and operatically educate myself further. I had not really heard the Opera, although I knew the basic plot and some of the music, but I was bowled over by the performances. I followed the text carefully, since this is surely essential to an understanding and subsequent appreciation of any Operatic work, with which you are not familiar - or even if you are.
A previous recent reviewer has given a special accolade to Karajan, and I cannot but agree with this. The very opening chords are arresting enough to make you sit up and anticipate what is to follow. Throughout, it is Karajan who perfectly sets the pace, which is what a great Director should do. The more relaxed initial scenes with Angelotti and the Sacristan do not dispel the mood of the opening, since the tension is still there. The ensuing scenes between Cavaradossi and Tosca are exquisite: Carreras and Ricciarelli blend perfectly, but the dramatic highlight of Act 1 is the entrance of Scarpia. Ruggero Raimondi has always been a great favourite of mine, (his performance of Philip II in "Don Carlos" under Giulini is a gem). His entrance here is chillingly under-played, since he interrupts the Chorus in their joyousness, and they have little choice but to get quickly away. We know we are in the presence of evil, but as yet we do not know the extent of it; the web he casts around Tosca extends this evil, but the ending of Act 1 is spectacular with cannon shots and bells (in true Italian Opera style) accompanying the procession of the Cardinal, where in the midst of the Te Deum, he breaks out with "Tosca, you make me forget God!", having previously condemned one to the gallows, the other in his arms. I know of nothing more dreadfully calculating, except perhaps from Iago in "Othello".
Act 2 contains some of the finest music. A pity it is not completely on CD 2, but we open with Scarpia initially alone in his self-justification scene, which is to prove hollow and eventually fatal. "I have strong desires, I pursue what I desire, glut myself with it, turning towards a new diversion" he says, and that is surely the key to the man. The interrogation and subsequent torture of Cavaradossi is by degrees fascinating and horrific: Karajan and his singers steer throughout with a steady hand, The great central confrontation which follows between Tosca and Scarpia, including the famous "Vissi d'Arte, and ending with her killing of Scarpia, is the climax of Act 2, and is just brilliant.
So is Act 3 in danger of anti-climax, with the removal of Scarpia from the action? Surely not in the hands of a Composer who knows where he is going, and why. The opening horn call heralds a beautiful pastoral interlude after which we have the famous "I lucevan le stele" in which Carreras excels, carefully structuring his performance to the final climax. The final duet between Tosca and Cavaradossi, exudes rapture. Karajan moves us carefully, but relentlessly into the final moments, the supposed sham, and then the real, execution of Cavaradossi and the final suicide of Tosca. So the spectre of Scarpia is ever-present.
There must be no doubt that Jose Carreras gives what is one of his greatest roles as Cavaradossi. Katia Riccarelli is likewise a spectacular, powerful and extremely moving Tosca: Ruggero Raimondi really steals the show and is moreover a composite actor. Heinz Zednik is a splendid foil to him, but there is not a weak link anywhere in this great performance.
I am not able to compare this performance with the large numbers of others available: in any case, this is a fruitless exercise. I am looking at this performance, not doing a thesis on who was better/not so good/why don't you buy....etc. and not conducting a dissertation, learned or otherwise: that is not the function of a reviewer. As I said at the outset, I was a newcomer to this Opera, so I want you to buy it and discover it for yourself, and revel in a supreme experience.
A previous recent reviewer has given a special accolade to Karajan, and I cannot but agree with this. The very opening chords are arresting enough to make you sit up and anticipate what is to follow. Throughout, it is Karajan who perfectly sets the pace, which is what a great Director should do. The more relaxed initial scenes with Angelotti and the Sacristan do not dispel the mood of the opening, since the tension is still there. The ensuing scenes between Cavaradossi and Tosca are exquisite: Carreras and Ricciarelli blend perfectly, but the dramatic highlight of Act 1 is the entrance of Scarpia. Ruggero Raimondi has always been a great favourite of mine, (his performance of Philip II in "Don Carlos" under Giulini is a gem). His entrance here is chillingly under-played, since he interrupts the Chorus in their joyousness, and they have little choice but to get quickly away. We know we are in the presence of evil, but as yet we do not know the extent of it; the web he casts around Tosca extends this evil, but the ending of Act 1 is spectacular with cannon shots and bells (in true Italian Opera style) accompanying the procession of the Cardinal, where in the midst of the Te Deum, he breaks out with "Tosca, you make me forget God!", having previously condemned one to the gallows, the other in his arms. I know of nothing more dreadfully calculating, except perhaps from Iago in "Othello".
Act 2 contains some of the finest music. A pity it is not completely on CD 2, but we open with Scarpia initially alone in his self-justification scene, which is to prove hollow and eventually fatal. "I have strong desires, I pursue what I desire, glut myself with it, turning towards a new diversion" he says, and that is surely the key to the man. The interrogation and subsequent torture of Cavaradossi is by degrees fascinating and horrific: Karajan and his singers steer throughout with a steady hand, The great central confrontation which follows between Tosca and Scarpia, including the famous "Vissi d'Arte, and ending with her killing of Scarpia, is the climax of Act 2, and is just brilliant.
So is Act 3 in danger of anti-climax, with the removal of Scarpia from the action? Surely not in the hands of a Composer who knows where he is going, and why. The opening horn call heralds a beautiful pastoral interlude after which we have the famous "I lucevan le stele" in which Carreras excels, carefully structuring his performance to the final climax. The final duet between Tosca and Cavaradossi, exudes rapture. Karajan moves us carefully, but relentlessly into the final moments, the supposed sham, and then the real, execution of Cavaradossi and the final suicide of Tosca. So the spectre of Scarpia is ever-present.
There must be no doubt that Jose Carreras gives what is one of his greatest roles as Cavaradossi. Katia Riccarelli is likewise a spectacular, powerful and extremely moving Tosca: Ruggero Raimondi really steals the show and is moreover a composite actor. Heinz Zednik is a splendid foil to him, but there is not a weak link anywhere in this great performance.
I am not able to compare this performance with the large numbers of others available: in any case, this is a fruitless exercise. I am looking at this performance, not doing a thesis on who was better/not so good/why don't you buy....etc. and not conducting a dissertation, learned or otherwise: that is not the function of a reviewer. As I said at the outset, I was a newcomer to this Opera, so I want you to buy it and discover it for yourself, and revel in a supreme experience.
MGKAL
5つ星のうち5.0
Quality of sound.
2019年5月18日にアメリカ合衆国でレビュー済みAmazonで購入
Great historical recording of J Carreras.
Pitou 1777
5つ星のうち2.0
Quand même bien décevant, vu les protagonistes
2015年8月15日にフランスでレビュー済みAmazonで購入
Karajan a dû dire à ses chanteurs « le premier qui fait un effet théatral, je le vire ». Seul Fernando Corena, le Sacristain, a osé enfreindre la consigne, car cela lui était inné. Personnellement, j’ai toujours aimé ce que faisait cette basse-bouffe, contrairement aux critiques professionnels plus savants que moi (et je pense qu’il aurait pu être un Scarpia).
Raimondi n’avait alors pas encore joué Scarpia sur scène, ce qu’il fait ensuite très bien et pendant de longues années. Là, pas de grandes envolées gueulardes, mais un des sussurements mielleux, pas franchement terrifiants.
Ricciarelli et Carreras chantent bien, ont les voix qui conviennent dans les duos et les airs solos (quel « Vittoria », pour lui, Vissi d’arte » émouvant, pour elle), mais cela reste du chant pur, pas de l’opéra (on était quand même en période vériste).
Ce qui m’a le plus gêné, c’est la prise de « abracadabrantesque » : dans le spremières scènes, on apsse son temps à hausser el son pour entendre les chanteure et à la baisser dès qu’il y a l’orchestre. Et, comme l’a fort justement remarqué…, les canons du Château St Ange ne devraient pas couvrir le Te Deum. Une faute énorme des ingénieurs du son (et de Karajan, qui supervisait tout).
Callas, Gobbi et Di Stefano ou Bergonzi, avec de Sabata ou Prêtre, restent maîtres du terrain. Le même Karajan, avec Léontyne Price, les suit de peu.
Cette version est pour les inconditionnels de l’œuvre ou des artistes.
Raimondi n’avait alors pas encore joué Scarpia sur scène, ce qu’il fait ensuite très bien et pendant de longues années. Là, pas de grandes envolées gueulardes, mais un des sussurements mielleux, pas franchement terrifiants.
Ricciarelli et Carreras chantent bien, ont les voix qui conviennent dans les duos et les airs solos (quel « Vittoria », pour lui, Vissi d’arte » émouvant, pour elle), mais cela reste du chant pur, pas de l’opéra (on était quand même en période vériste).
Ce qui m’a le plus gêné, c’est la prise de « abracadabrantesque » : dans le spremières scènes, on apsse son temps à hausser el son pour entendre les chanteure et à la baisser dès qu’il y a l’orchestre. Et, comme l’a fort justement remarqué…, les canons du Château St Ange ne devraient pas couvrir le Te Deum. Une faute énorme des ingénieurs du son (et de Karajan, qui supervisait tout).
Callas, Gobbi et Di Stefano ou Bergonzi, avec de Sabata ou Prêtre, restent maîtres du terrain. Le même Karajan, avec Léontyne Price, les suit de peu.
Cette version est pour les inconditionnels de l’œuvre ou des artistes.