Rossini: Guillaume Tell / Lamberto Gardelli
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曲目リスト
ディスク: 1
1 | Ov |
2 | Act I: Quel jour serein le ciel presage! |
3 | Act I: Accours dans ma nacelle |
4 | Act I: On entend des montagnes |
5 | Act I: pastures, que vos accents' unissent |
6 | Act I: Pres des torrents qui grondent |
7 | Act I: Contre les feux du jour que mon toit solitaire |
8 | Act I: Le mirn, dit-il, jamais, jamais le mein! |
9 | Act I: Ou vas-tu? |
10 | Act I: Du danger quand sonnera I'heure |
11 | Act I: O Ciel, tu sais si Mathilde m'est chere! |
12 | Act I: Sur nos tetes le soleil brille |
13 | Act I: Quand le Ciel entend votre promesse |
14 | Act I: Des antiques vertus vous nous rendrez l'exemple |
15 | Act I: Gessler proscrit ces voeu, ecoutez le tyran |
16 | Act I: Hymenee, ta journee fortunee uit pour nous |
17 | Act I: Pas de six |
18 | Act I: Glorie, honneur au fils de Tell...Enfants de la nature |
ディスク: 2
1 | Act I: Pale et tremblant, se soutrnant a peine |
2 | Act I: Arnold a disparu |
3 | Act I: Dieu de bonte, Dieu tout-puissant |
4 | Act I: Ils vont parler |
5 | Act I: Comme lui nous aurions du faire |
6 | Act II: Quelle sauvange harmonie |
7 | Act II: Quel est ce bruit? |
8 | Act II: Ils s'eloignent enfin |
9 | Act II: Sombre foret |
10 | Act II: ma presence pour vous est peut-etre un outrage? |
11 | Act II: Oui, vous l'arrachez a mon ame |
12 | Act II: Doux aveu! ce tendre iangage |
13 | Act II: Ilest digne de mon amour, oui...Dans celle que j'aime |
14 | Act II: on vient, separons-nous |
15 | Act II: Ciel! Walter et Guillaume, oui...Tu n'etais pas seul en ces lieux? |
16 | Act II: Quand l'Helvetie est un champ de supplices |
17 | Act II: Ses jours qu'ils ont ose proscrire |
18 | Act II: Il est donc vrai! |
19 | Act II: Des profonderurs du bois immense |
20 | Act II: En ces temps de malheurs |
21 | Act II: On pardonne la crinte a de si grands malheurs |
22 | Act II: De prompts effets la promesse est suivie |
23 | Act II: L'avalanche roulant du haut de nos montagnes |
ディスク: 3
1 | Act III: Arnold d'ou nait ce desepoir? |
2 | Act III: Pour notre amour plus d'esperance |
3 | Act III: Quel bruit arrive a mon oreille? |
4 | Act III: Sur la rive etangere |
5 | Act III: Glorie au pouvoir supreme! |
6 | Act III: Vainement dans son insolence |
7 | Act III: Que l'empire germain de obeissance |
8 | Act III: Toi que l'oiseau ne suirait pas |
9 | Act III: Dance |
10 | Act III: Toi que l'oiseau ne suivrait |
11 | Act III: Pas de Soldats |
12 | Act III: Audacieux, incline-toi! |
13 | Act III: C'est la cet archer redoutable |
14 | Act III: Rejoins ta mere, je l'ordonne |
15 | Act III: Je te benis en repandant des lames |
16 | Act III: Sois immobile, et vers la terre |
17 | Act III: Victoire! victoire! |
18 | Act III: Au nom du souverain, je prends sous ma garde |
19 | Act III: Quand l'orgueil les egare |
ディスク: 4
1 | Act III: Ah! que ton ame se ressure |
2 | Act IV: Ne m'abondonne pas, espoir de la vengeance! |
3 | Act IV: Asile hereditarie |
4 | Act IV: Vwngeance! Vengeance! |
5 | Act IV: Amis, Amis, secondez ma vengeance |
6 | Act IV: Ou vas-tu? ta douleur t'egare |
7 | Act IV: Je rends a voture amor un fils dinge de vous |
8 | Act IV: Quoi! dans nos maux acceptant um partage |
9 | Act IV: Toi, qui du faible es l'esperance |
10 | Act IV: Suives-moi! suivez-moi! |
11 | Act IV: Je te revois! |
12 | Act IV: A ces signaux de flamme enfin cessons de craindre |
13 | Act IV: Pourquoi ta presence, o mon pere!...Tout change et grandis en ces lieux |
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 : 13.97 x 12.55 x 1.14 cm; 335.66 g
- メーカー : EMI Classics
- EAN : 0077776995120
- 製造元リファレンス : CMS 7 69951
- SPARSコード : DDD
- レーベル : EMI Classics
- ASIN : B000002SHU
- ディスク枚数 : 4
- Amazon 売れ筋ランキング: - 170,276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)
- - 2,259位オペラ・声楽 (ミュージック)
- - 42,801位輸入盤
- カスタマーレビュー:
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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。
2018年4月12日に日本でレビュー済み
仏語版で最高の全曲盤。特にゲッダのアルノールは最高の歌唱。カバリエとバキエも最良のパフォーマンス。ガルデッリの指揮も見事なコントロール。
2016年10月23日に日本でレビュー済み
Amazonで購入
序曲だけ有名オペラの一つを、恐いもの見たさ?で聴いてみた。
演奏されない理由は色々言われているが、正直言ってつまらないから。
その有名な序曲さえスパイクジョーンズやショスタコービッチのパロディの方が小生の様な輩には合っているのを痛感。
演奏されない理由は色々言われているが、正直言ってつまらないから。
その有名な序曲さえスパイクジョーンズやショスタコービッチのパロディの方が小生の様な輩には合っているのを痛感。
2016年1月18日に日本でレビュー済み
ロッシーニのフランス語によるグランド・オペラ『ギヨーム・テル』の草分け的存在であるガルデッリ盤は完成度が高く未だ魅力は衰えていません。元々地味な存在のようでしたが、もっと注目されても良い録音だと思われます。まず、オリジナルのフランス語によるカット無しの全曲演奏であること。そして、スタジオ録音で1972年の録音でありながら、音質は大変良いこと。更に、歌手陣もアルノールのニコライ・ゲッダとマティルドのモンセラート・カバリエの2大スターを筆頭にテルのガブリエル・バキエ、エドヴィージュのジョスリン・タイヨン、ジェミのマディ・メスプレ、ジェスレルのルイ・エンドリックス(ベルギー)、漁師のシャルル・ブルルなどフランス勢が脇を固め、非常に魅力的な陣容です。ガルデッリ指揮のロイヤル・フィルの演奏も弦を中心に非常に美しいです。近年の競合盤も優れたライブ録音が次々に発売されていますが、演奏時間などを確認しますとガルデッリ盤(237分:CD4枚、カット無)、ルイジ盤(192分:CD3枚、カット有)、パッパーノ盤(208分:CD3枚、カット有)、フォリアーニ盤(253分:CD4枚、カット無)となっています。パッパーノ盤とフォリアーニ盤はロッシーニ財団によるクリティカル・エディションが使用されています。ノーカットである点は十分評価でき、歌手陣の充実も素晴らしく、スタジオ録音のためノイズがなく音質も良いこと、ロイヤル・フィルの美しい音などから、十分評価できる録音だと思われます。
他の国からのトップレビュー
Paul K Bennett
5つ星のうち5.0
Historic recording of this significant work
2022年11月25日に英国でレビュー済みAmazonで購入
A very good recording of a work that has relatively few modern productions. Great soloists perform in a work that delivers great set lieces, especially for full chorus.
Fast delivery, great condition.
Fast delivery, great condition.
Steven Muni
5つ星のうち5.0
Rossini at His Most Romantic
2007年5月2日にアメリカ合衆国でレビュー済みAmazonで購入
Written and produced in Paris in 1829, this is Rossini's last and grandest opera. Based on a play by Schiller, this opera is almost a compendium of Romantic themes. The tenor hero is a young revolutionary fighting foreign occupiers on behalf of the common people, in love with a princess of that same occupying power who renounces her country and station to fight for the common people beside the man she loves. The pastoral setting is majestic and full of grandeur, reflecting the noble cause for which they fight and is held up as an example of all that is good. You name it, they've got it! And Rossini wrote some of his best music for all of this, packing the opera with memorable tunes that reflect the themes of the play and are themselves reflected in national songs and less exalted music worldwide (think of the Lone Ranger's theme music.)
Despite all of this, the opera isn't often performed. The reasons rapidly become clear. It lasts almost five hours, requires immense and incredibly elaborate sets (how do you get an alp AND a lake onstage and at the same time?), and further requires an incredible cast, with a large chorus, two major soprano roles, (the aforementioned princess and the trouser role of Tell's son), a mezzo role, a large and low-lying baritone role (Tell himself), two good-size bass roles, and one of the most difficult tenor roles in all opera. The tenor role is placed very high in the voice, (it's sprinkled with high-Cs--one aria has seven by itself!), and requires a singer who can be sweet and lyrical and a minute later ardent and heroic. Pavarotti famously refused to make his La Scala debut in the role, fearing (probably correctly) that it would simply shred his voice, and Gedda only sang it once on stage.
Fortunately there are two excellent recordings of the opera to enjoy. One is sung in Italian, conducted by Ricardo Chailly, with a stellar cast including Pavarotti, (who said it was his best recorded performance ), Freni, and Milnes. The other is this recording, made in 1973, which is the only recording of the opera in the language in which it was originally written.
Briskly and clearly led by Lamberto Gardelli, this recording stars Gabriel Bacquier as Tell, Nicolai Gedda as the heroic tenor, Montserrat Caballe as his Austrian princess, and French lyric coloratura Mady Mesple as Tell's son. The Ambrosian Chorus's French diction isn't the clearest, and it seems a bit odd to cast a Spanish soprano in this very French opera, but Caballe sings divinely. And the other three are native French speakers. I have always been a fan of Bacquier, who had a long and distinguished career, and he handles the title role with distinction. Mesple was an underrated coloratura, and she brings a clear liquid sweetness to the role of Tell's young son. Although Gedda was getting on a bit when he made this recording, and some of the high notes sound a little forced, he brings his ever-present elegance and refinement to the role. He is a superb stylist and his musicianship is incredible. The London Philharmonic plays with clarity and gusto, the stereo sound is clean, it comes with an excellent booklet containing the libretto, some pictures, and an excellent essay on the opera, and the price is very reasonable.
While the Italian recording is also terribly exciting, and Pavarotti brings a dramatic urgency to his role, (singing it a little faster than Gedda does), I really like hearing the work in the language for which it was written. I think it works better. After all, Rossini wrote his music to fit the existing words, in French. This recording belongs in every collection, large or small.
Despite all of this, the opera isn't often performed. The reasons rapidly become clear. It lasts almost five hours, requires immense and incredibly elaborate sets (how do you get an alp AND a lake onstage and at the same time?), and further requires an incredible cast, with a large chorus, two major soprano roles, (the aforementioned princess and the trouser role of Tell's son), a mezzo role, a large and low-lying baritone role (Tell himself), two good-size bass roles, and one of the most difficult tenor roles in all opera. The tenor role is placed very high in the voice, (it's sprinkled with high-Cs--one aria has seven by itself!), and requires a singer who can be sweet and lyrical and a minute later ardent and heroic. Pavarotti famously refused to make his La Scala debut in the role, fearing (probably correctly) that it would simply shred his voice, and Gedda only sang it once on stage.
Fortunately there are two excellent recordings of the opera to enjoy. One is sung in Italian, conducted by Ricardo Chailly, with a stellar cast including Pavarotti, (who said it was his best recorded performance ), Freni, and Milnes. The other is this recording, made in 1973, which is the only recording of the opera in the language in which it was originally written.
Briskly and clearly led by Lamberto Gardelli, this recording stars Gabriel Bacquier as Tell, Nicolai Gedda as the heroic tenor, Montserrat Caballe as his Austrian princess, and French lyric coloratura Mady Mesple as Tell's son. The Ambrosian Chorus's French diction isn't the clearest, and it seems a bit odd to cast a Spanish soprano in this very French opera, but Caballe sings divinely. And the other three are native French speakers. I have always been a fan of Bacquier, who had a long and distinguished career, and he handles the title role with distinction. Mesple was an underrated coloratura, and she brings a clear liquid sweetness to the role of Tell's young son. Although Gedda was getting on a bit when he made this recording, and some of the high notes sound a little forced, he brings his ever-present elegance and refinement to the role. He is a superb stylist and his musicianship is incredible. The London Philharmonic plays with clarity and gusto, the stereo sound is clean, it comes with an excellent booklet containing the libretto, some pictures, and an excellent essay on the opera, and the price is very reasonable.
While the Italian recording is also terribly exciting, and Pavarotti brings a dramatic urgency to his role, (singing it a little faster than Gedda does), I really like hearing the work in the language for which it was written. I think it works better. After all, Rossini wrote his music to fit the existing words, in French. This recording belongs in every collection, large or small.
Albertiko
5つ星のうち4.0
So far excellent.
2016年5月19日にアメリカ合衆国でレビュー済みAmazonで購入
It's a 4 cd opera. So it takes time to appreciate it. So far excellent.
Martin Drew
5つ星のうち5.0
excitement Rossini
2015年7月24日にアメリカ合衆国でレビュー済みAmazonで購入
Superb performance by Gardelli conductor with Royal phil and ambrosian chorus the best cd of Gedda, Caballe, Bacquier,, Mesple, Taillon etal. Sisc 1 on two places it stuck on a place. otherwise good sound.