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Brilliant Opera Collection: Madame Butterfly Doppel-CD

5.0 von 5 Sternen 1 Kundenrezension

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Audio-CD, Doppel-CD, 4. Februar 2011
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Disk: 1

  1. E Soffitto... E Pareti (1. Akt)
  2. Questa è La Cameriera
  3. Dovunque Al Mondo
  4. Quale Smania Vi Prende!
  5. Ah! Ah! Quanto Cielo... Ancora Un Passo Or Via
  6. Gran Ventura
  7. L'imperial Commissario
  8. Vieni, Amor Mio!
  9. Ieri Son Salita Tutta Sola
  10. Ed Eccoci In Famiglia
  11. Bimba, Bimba, Non Piangere
  12. Bimba Dagli Occhi Pieni Di Malia
  13. Vogliatemi Bene, Un Bene Piccolino
  14. E Izaghi Ed Izanami (2. Akt)
  15. Un Bel Dì Vedremo
  16. C'è. Entrate
  17. Non Io Sapete Insomma
  18. Ora A Noi

Disk: 2

  1. Ebbene, Che Fareste?
  2. E Questo? E Questo?
  3. Che Tua Madre
  4. Io Scendo Al Piano
  5. Vespa! Rospo Maledetto!
  6. Una Nave Da Guerra
  7. Scuoti Quella Fronda Di Ciliegio
  8. Or Vienmi Ad Adornar
  9. Humming Chorus
  10. Oh Eh! Oh Eh! Oh Eh!
  11. Già Il Sole!
  12. Chi Sia?... Zitta! Zitta!
  13. Io So Che Alle Sue Pene... Oh! L'amara Fraganza
  14. Addio, Fiorito Asil
  15. Glielo Dirai?... Prometto
  16. Che Vuol Da Me?
  17. Come Una Mosca
  18. Con Onor Muore


One of the best-loved of all operas, Puccinis Madama Butterfly was given its premiere at La Scala Milan in 1904, where it received a terrible reception. The chemistry of the collaborators should have ensured success - the librettists Luigi Illica and Guiseppe Giacosa had worked with the composer on La bohème and Tosca. Puccini withdrew the work and revised it thoroughly. When this version was presented to the public the adulation was extraordinary, and the work has been a central part of the operatic repertoire ever since. The story is a highly emotional one - of cynical colonial exploitation, blind love and infidelity, a potent mix fuelled by Puccinis high-octane score. The aria Un bel di (One fine day) is the high point of the work where Butterfly, living in poverty with Pinkertons child and her maid Suzuki sings of her confidence that her handsome US Navy captain will return to her. He does eventually return, but not for Butterfly, with tragic consequences. OTHER INFORMATION: Gavazzeni has life, warmth and a sure control. Then there is the compassionate and beautifully sung Sharpless of Tito Gobbi, a more effective presence than that of Mario Sereni, good as he is in the second recording. A better (though hardly ideal) Suzuki further strengthens the cast, and it is good to hear Maria Huder once again in the role of Kate which she sang as long ago as 1939 to the Butterfly of Toti dal Monte. Los Angeles herself is adorable in both sets, the voice in richest bloom here, the portrayal almost unbearably vivid in charm and magnanimity,


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Von K. Friedgen TOP 500 REZENSENT am 12. Juni 2015
Format: Audio CD Verifizierter Kauf
An Aufnahmen von Puccinis exotischer Oper "Madame Butterfly" herrscht wahrlich auf dem übersättigten Tonträgermarkt kein Mangel, und unter den angebotenen gibt es mehr als eine, die ins Spitzenfeld gehört.
Ganz oben auf der Liste streiten sich seit Jahrzehnten die Aufnahmen von Barbirolli (EMI) und Leinsdorf (RCA) um Rang eins, sie haben mit Renata Scotto und Leontyne Price ganz herausragende Vertreterinnen der Titelrolle anzubieten, und trotzdem greife ich immer wieder, wenn es um diese Oper geht, zu der alten EMI-Aufnahme von 1954, mit Victoria de los Angeles als Protagonistin und dem eher unauffälligen, aber sorgsam dirigierenden Gianandrea Gavazzeni, obwohl der Klang alles andere als optimal ist und keineswegs heutigem Standard entspricht.
Es liegt einfach daran, daß die Spanierin für ihre Rolle eine so süße, natürliche, unverbrauchte Stimme mitbringt, daß sie sämtliche Konkurrentinnen aus dem Feld schlägt, und in Giuseppe di Stefano einen so stürmischen und draufgängerischen Pinkerton an der Seite hat, der damals auf dem Zenit seiner künstlerischen Möglichkeiten stand und der es verstand, der undankbaren Rolle des gedanken- und gewissenlosen Amerikaners ein so überzeugendes Gesicht zu geben, wie das in dieser Vollendung keinem seiner Mitbewerbe gelingt. Hinzu kommt noch Tito Gobbi, der mit seiner großartigen Stimme und großen Bühnenpräsenz die relativ unbedeutende Rolle des Sharpless erheblich aufwertet. Aber auch Anna Maria Canali (Suzuki) und Renato Ercolani (Goro/Yamadori) zeigen gute Leistungen, wie auch die übrigen Mitwirkenden, von denen Arturo La Porta als Bonzo noch ein Sonderlob verdient hat.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta) (Kann Kundenrezensionen aus dem "Early Reviewer Rewards"-Programm beinhalten)

Amazon.com: 5.0 von 5 Sternen 4 Rezensionen
1 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen REWARDING PERFORMANCES 4. Februar 2010
Von mangiafrani - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
The are several reasons why this is an excellent account of Madam Butterly. Number one is the singing. Peter Dvorksy makes an excellent Pinkerton. You can purchase this cd for his singing alone, but the other singers give good performances as well.

Giusseppe Patane's conducting is first rate. I think you will enjoy this cd.
5 von 5 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Brilliant Classics has made this 4. Februar 2016
Von Trent Clegg - Veröffentlicht auf Amazon.com
Format: Audio CD
This 1954 recording has been issued on other labels in reportedly variable sonics. Thankfully, Brilliant Classics has made this, and other classic recordings, available in affordable, clear-sounding versions licensed from the companies that own the masters. In the case of this recording, the digital remastering is credited to EMI from 1988, back when the record companies hadn’t yet gone berserk trying to juice up the sound of their back catalogue for yet another re-issue. Happily, though this version suffers from some peaking at climaxes, it sounds like most other late ‘80’s remasterings of mono recordings – as clear and true to the original as possible.

The performance stands well beside other iconic recordings of Butterfly, such as the Scotto/Barbirolli or Callas/Karajan versions. Gianandrea Gavazzeni’s highly individual and dramatic reading might seem to gloss over some orchestral and vocal details in its haste to make a point, but this makes the slower moments of repose all the more beautiful when they do occur. The beginning of Act One is a clear case in point, with Butterfly’s entrance more breathtaking than usual after the hectic interplay between Pinkerton, Sharpless, and Goro. In short, this Butterfly is never boring.

Victoria de los Angeles recorded the role of Butterfly twice in the studio. This is her first effort and is preferable to her later, more sedate 1960 stereo reading for Gabriele Santini. Though she might not point every word in the Callas manner, de los Angeles’s Butterfly is well thought-out, maintaining her dignity from the first moment to the last. Her vocal delivery is by turns delicate and powerful, and she never lapses into sheer melodrama or grotesque coquettishness. It could be said that she successfully combines the beauty of a Price or Tebaldi with the edginess of a Callas or Scotto. Puccini’s beloved geisha was one of the Spanish diva’s most successful roles. The other roles are also well cast, with di Stefano providing an ideal Pinkerton. The Italian tenor sings beautifully and conveys the character’s cavalier manner better than any other version. Tito Gobbi’s Sharpless is often sensitive, but unlike his 1953 Scarpia, he does not provide the definitive reading of the part. Anna Maria Canali relishes her role as Suzuki and doesn’t disappoint either vocally or dramatically. Of special note is Maria Huder’s Kate Pinkerton. Where most singers fail, Huder manages to give dimension to this small but crucial role.

It is interesting to consider what went on behind the scenes at EMI when this recording was made. The set was first issued in the US on the RCA label, which frequently licensed European recordings from other companies for US distribution. Perhaps that is why the normal trio of Callas/di Stefano/Gobbi was split up. Though the 1955 version with Callas, Gedda, and Karajan has its merits, for many listeners it remains an operatic might-have-been. In any case, this 1954 collaboration with the Rome Opera remains one of the best versions of the opera on disc, and for those who don’t bother about all the extras, this issue from Brilliant Classics is a true bargain.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A great analog Butterfly 23. Januar 2012
Von J. Bynum - Veröffentlicht auf Amazon.com
Format: Audio CD
Madama Butterfly

Giacomo Puccini - music
Biuseppe Giacosa & Luigi Illica - Libretto (sung in Italian)

Giuseppe Patane
Hungarian State Opera Orchesta
Hungarian State Opera Chamber Chorus - Ferenc Nagy

(Hungaroton - ADD - 1981)

One of the finest versions of Madama Butterfly ever made. Five Stars
2 von 3 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen la plus belle version 28. März 2011
Von Christian - Veröffentlicht auf Amazon.com
Format: Audio CD
A version madam Butterfly's extraordinary version - All the interpreters are completed but the biggest delight results from Peter Dvorsky who there has even a beautée of voice(vote) upper has Kussi Bjorling - Christian (France)
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