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Handel: Giulio Cesare in Egitto Box-Set

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Produktinformation

  • Orchester: Il Complesso Barocco
  • Dirigent: Alan Curtis
  • Komponist: Georg Friedrich Händel
  • Audio CD (23. November 2012)
  • SPARS-Code: DDD
  • Anzahl Disks/Tonträger: 3
  • Format: Box-Set
  • Label: Naive Classique (Indigo)
  • ASIN: B008R5OJXE
  • Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen 2 Kundenrezensionen
  • Amazon Bestseller-Rang: Nr. 143.973 in Musik-CDs & Vinyl (Siehe Top 100 in Musik-CDs & Vinyl)
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Titelverzeichnis

Disk: 1

  1. Ouverture
  2. Scena 1/Viva il nostro alcide
  3. Scena 1/Aria/Presti ormai l'egizia terra
  4. Scena 1,2,3/Recitativo
  5. Scena 3/Aria/Empio,diro,tu sei
  6. Scena 3/Recitativo
  7. Scena 4/Aria/Priva son d'ogni conforto
  8. Scena 4/Recitativo
  9. Scena 4/Aria/Svegliatevi nel core
  10. Scena 5/Recitativo
  11. Scena 5/Aria/Non disperar,chi sa?
  12. Scena 6/Recitativo
  13. Scena 6/Aria/L'empio,sleale,indegno
  14. Scena 7/Recitativo/accompagnato
  15. Scena 7/Recitativo
  16. Scena 7/Aria/Non e si vago e bello
  17. Scena 7/Recitativo
  18. Scena 7/Aria/tutto puo donna vezzosa
  19. Scena 7/Recitativo
  20. Scena 8/Arioso/Nel tuo seno,amico sasso
  21. Scena 8/Recitativo
  22. Scena 8/Aria/Cara speme,questo core
  23. Scena 8/Recitativo
  24. Scena 8/Aria/Tu la mia stella sei
  25. Scena 9/Recitativo
  26. Scena 9/Aria/Va tacito e nascosto
  27. Scena 10,11/Recitativo
  28. Scena 11/Aria/Tu sei il cor di questo core

Disk: 2

  1. Scena 11/Recitativo
  2. Scena 11/Duetto/Son nata/o a lagrimar/sospirar
  3. Scena 1,2/Recitativo
  4. Scena 2/Sinfonia
  5. Scena 2/Recitativo
  6. Scena 2/Sinfonia
  7. Scena 2/Recitativo
  8. Scena 2/Aria/V'adoro,pupille
  9. Scena 2/Recitativo
  10. Scena 2/Aria/Se in fiorito ameno prato
  11. Scena 3/Arioso/Deh,piangete,o mesti lumi
  12. Scena 3,4/Recitativo
  13. Scena 4/Aria/Se a me non sei crudele
  14. Scena 4/Recitativo
  15. Scena 4/Aria/Si,spietata,il tuo rigore
  16. Scena 5,6/Recitativo
  17. Scena 6/Aria/Cessa omai di sospirare!
  18. Scena 6/Recitativo
  19. Scena 6/Aria/L'angue offeso mai riposa
  20. Scena 7/Recitativo
  21. Scena 7/Aria/Venere bella
  22. Scena 7,8/Recitativo
  23. Scena 8/Aria/Al lampo dell'armi
  24. Scena 8/Recitativo accompagnato
  25. Scena 8/Aria/Se pieta di me non senti/Scena 9/Recitativo
  26. Scena 9/Arioso/Belle dee di questo core
  27. Scena 9,10,11/Recitativo

Disk: 3

  1. Scena 11/Aria/L'aure che spira
  2. Scena 1/Recitativo
  3. Scena 1/Aria/Dal fulgor di questa spada
  4. Scena 2/Sinfonia
  5. Scena 2/Recitativo
  6. Scena 2/Aria/Domero la tua fierezza
  7. Scena 3/Recitativo
  8. Scena 3/Aria/Piangero la sorte mia
  9. Scena 4/Recitativo accompagnato/Aria/Aure,deh,per pieta
  10. Scena 4,5/Recitativo
  11. Scena 5/Aria/Quel torrente,che cade dal monte
  12. Scena 6/Recitativo
  13. Scena 6/Aria/La giustizia ha gia sull'arco
  14. Scena 7/Recitativo accompagnato
  15. Scena 7/Recitativo
  16. Scena 7/Aria/Da tempeste il legno il legno infranto
  17. Scena 8,9/Recitativo
  18. Scena 9/Aria/Non ha piu che temere
  19. Scena ultima/Sinfonia
  20. Scena ultima/Recitativo
  21. Scena ultima/Duetto/Caro!/Bella!
  22. Scena ultima/Recitativo

Produktbeschreibungen

Kurzbeschreibung

Händels Giulio Cesare in einer Gesamtaufnahme mit Il Complesso Barocco, Marie-Nicole Lemieux und Karina Gauvin Marie-Nicole Lemieux und Karina Gauvin präsentieren nach Streams of Pleasure , ihrem Album mit Händel-Arien und Duetten nun Georg Friedrich Händels Giulio Cesare - das gelungene zweite Resultat ihrer erfolgreichen Zusammenarbeit mit Barock-Koryphäe Alan Curtis und seinem renommierten Ensemble Il Complesso Barocco. Händel komponierte Giulio Cesare 1724 als elfte seiner insgesamt 36 in England entstandenen Opern. Das Werk war schon zur damaligen Zeit ein Renner, mit Reprisen in den Jahren 1725, 1730 und 1732. In den 1920er Jahren sollte dann die erstmalige Neuaufführung des Giulio bei den Göttinger Händelfestspielen die bis heute andauernde Renaissance von Händels Opernschaffen einläuten. Mit spannungsreichen Accompagnato-Rezitativen, herzzerreißenden Duetten und einer glänzenden, bei manchen Partien augenzwinkernd die Handlung unterstreichenden Orchestrierung ist ihrem Schöpfer ein zeitloses Meisterwerk gelungen. Durch das Vereinen von Elementen des italienischen, französischen und deutschen Opernstils gelingt es ihm noch Jahrhunderte später spielend, das Publikum zu begeistern.

Rezension

As usual, all his [Curtis] singers are a joy to listen to ... an excellent and enjoyable recording. --Violet Greene, Early Music Review April 2013

Marie-Nicole Lemieux s vocal shading as Cesare is vivid and characterful exploiting the audible break into her lowest register for urgent effect in Al lampo dell armi and relishing the masterclass-in-decption that is Va tacito ... Curtis and his band are impeccable stylists, and the orchestral performance here is a delight. --Alexandra Coghlan, Opera March 2013

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Format: Audio CD
Na, endlich mal eine Aufnahme von „Giulio Cesare“! - nein, trotz der beiden überragenden Sängerinnen in den Hauptrollen, Karina Gauvin und Marie-Nicole Lemieux, wäre diese gefühlt 250te Einspielung der Oper nicht nötig gewesen.
Der unglaublich schöne Stimmklang von Karina Gauvin und ihr souveräne Musikalität erheben sich herrlich über die Beeinträchtigung einer temperamentlosen Interpretation durch das Orchester. Es ist höchst erfreulich, dass diese große Barocksopranistin endlich diese Rolle einspielt, in der sie mit dem Glanz ihrer Stimme und ihrem dramatischen Ausdrucksvermögen beeindrucken kann.
Marie-Nicole Lemieux in ihrer Männerrolle überzeugt mit fester, kraftvoller und strahlender Stimme und intensiver Interpretation, wird jedoch ebenso wie Gauvin durch das schläfrige Dirigat Curtis' und die extremen langsamen Tempi in ihrer Arbeit erkennbar behindert. Bedauerlich scheint diesem Rezensenten insbesondere, dass Curtis anscheinend nach längst überholter Gutsherrenart nicht den Sängerinnen, die ein besseres Urteilsvermögen haben könnten als er, die Wahl der Tempi überlässt, sondern diese eigenmächtig bestimmt.
Romina Basso überzeugt in ihrer Rolle der trauernden Witwe trotz ihrer Jugend mit vollem und schwerem Stimmklang und intensivem Ausdruck.
In der Rolle des Sesto bietet Emöke Barath einen schönen, durchaus knabenhaften Stimmklang, aber singt ihre Abfolge von eigentlich verzweifelten und intensiven Arien allzu brav und stellenweise mit viel vibrato ab - leider kein Vergleich mit Ph. Jaroussky, der in einer anderen Einspielung in dieser Rolle glänzt.
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Format: Audio CD Verifizierter Kauf
Altmeister Alan Curtis hat die Freunde barocker Opern seit vielen Jahren mit einer Reihe von weitgehend unbekannten Opern erfreut (freilich gerade auch bie Amazon immer wieder Kritiker gefunden, nicht immer zurecht wie ich meine). Nun ist er zum wohl bekanntesten Werk der barocken Opernliteratur, Händels "Giulio Cesare" in Egitto vorgestossen. Das lange Warten hat sich gelohnt. Curtis legt eine exzellente Aufnahme vor, in denen die Streicher und Bläser seines Orchesters "Il Complesso Barocco" glänzen können. Interessant der Vergleich etwa zur Aufnahme von Rene Jacobs aus den frühen neunziger Jahren. Die Neuaufnahme unter Curtis deutlich härter und vibrierender, manchmal auch weniger geschmeidig, aber ich habe das nicht als ein Manko empfunden, sondenr im Gegenteil als spannend.

Von den Sängerinnen und Sängern kann man gleichfalls fast nur Gutes sagen. Marie-Nicole Lemieux macht miteinem sehr lebhaften Porträt der Titelrolle einmal mehr deutlich, dass auch Frauen in der Kastratenrolle des Giulio Cesare glänzen können. Karina Gauvin als Clepopatra ist eine reine Freude. Gleiches gilt für Romina Basso als Cornelia.

Wie so oft nutzt Curtis eine CD-Aufnahme aber auch, um neue Sänger vorzustellen. Johannes Weisser stellt einen stimmlich glanzvollen Achilla vor, Filippo Mineccia als Tolomeo kann die Boshaftigkeit des Teenagers auf dem Thron bestens darstellen. Wenn überhaupt in der Aufnahme ein kleine Wehmutstropfen zu finden ist, dann ist es Emöke Baráth, die als Sesto mit der b wohl besten Darstellerin der Rolle, der verstorbenen Lorraine Hunt nicht mithalten kann.

Gleichwohl alles in allem eine schöne Krönung (oder besser noch Fortsetzung) von Curtis' Opernaufnahmen. Highly recommended.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta) (Kann Kundenrezensionen aus dem "Early Reviewer Rewards"-Programm beinhalten)

Amazon.com: 3.9 von 5 Sternen 9 Rezensionen
7 von 7 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Excelleny, but not great 27. Februar 2013
Von VM - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Like others here I was expecting to like this a bit more than I do. The performance is excellent, and had I never heard the competition, I would have found it thrilling and wonderful. But having the Jacobs performance in my collection for nearly two decades it is difficult not to make comparisons and find the present recording wanting.

On Jacobs Larmore reigns supreme. Her timbre may not be as suited as Lemieux's to the role, but her singing has such dash and brilliance that she leaves the Canadian alto in the dust. Lemieux is excellent for the bulk of the part, and acts well also, but at times can sound a bit heavy and uninspired. The weakest part oh her performance is "Se in fioroto" which lacks charm, facility and an easy trill. Larmore is fabulous here. For the rest she ranges from very good to excellent, but there is an overall feeling that she is jut not at her considerable best.

Gauvin is superb, totally eclipsing Schlick on Jacobs. But after the initial shock at hearing Schlick's metallic little voice, I was able to warm to her and her great sense of style, technical control, and identification with the role. Gauvin, though, is across the board better in every way. She successfully presents the ironoc playfulness of the young queen, then her seductiveness, then deepens her interpretation with stunning "Se pieta" and "Piangero"
readings.

Romia Basso is a superb Cornelia, but she's up against Bernarda Fink's benchmark performance for Jacobs. Still, she has beautiul tone, a fine technique, and makes the listener feel why all the men fall in love with her.

The rest of he cat is very strong and stylish. Everyone can trill, but all have a habit of not completing them all the time. Ornamentation is tasteful, interesting, even exciting. Everyone's coloratura is clean, but occasionally too careful.

Curtis conducts with great sense of style, but lacks he panache of Jacobs. I found him better in the more serious sections, less good in the scenes requiring charm, so there is less chiaraoscura than with Jacobs.

Orchestra is excellent, sound very good.

I'm glad I have an alternative to Jacobs and a different, possibly more sombre, view of the score. If buying only one CESARE, this would certainly suffice, especially for Gauvin and Basso, but I would still say my allegiance is with Jacobs overall.
2 von 5 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Wonderful Recording 20. Februar 2013
Von Thoughtful - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
This is a wonderful recording of a well-loved opera. The voices are beautiful and the technical aspects of the recording, superb.
20 von 23 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Why Giulio Cesare? 15. Januar 2013
Von Joshilyn Hoisington - Veröffentlicht auf Amazon.com
Format: Audio CD
I add my voice to those who found this recording a little lifeless. As has been mentioned in another review, it's a tough opera to present on CD. It's long, and difficult to cast. Cesare presents all kinds of problems as far as casting goes. To put it simply, there will never be another Senesino, the castrato for whom the role was written. So what kind of voice, that exists now, is right for Cesare? Somebody like Andreas Scholl, who seems to me to be THE stage Cesare of our time, is probably not the perfect choice for a CD Cesare. On stage, he is a tall, handsome presence. But while his technique is nearly flawless, his timbre is perhaps, at times, not entirely suitable. For a CD recorded Cesare, stage presence is irrelevant. Only the voice matters. Curtis selected Lemieux for his Cesare, and at times it seems like a good choice. Her lower range is strong, and the slower arias are rendered prettily, if a bit dull. Lemieux seems not to be able to handle the fast coloratura required in arias like Al Lampo Dell'Armi. She was not able to articulate the notes as written and substituted her own composition for many of the long melismas. She is better on Quel Torrente, where Curtis takes a rather ponderous tempo.

This brings me to my sort of ultimate question: why add a recording of this opera with nothing new to say? I appreciate Alan Curtis's dedication to recording Handel. He has provided up-to-date recordings of plenty of rare operas. Where else could someone hear Deidamia, or even, say Fernando? But there are several very good Giulio Cesare recordings out there already: Jacobs, Minkowski, Petrou, et al. There is nothing new about this recording. If Curtis decided to, say, try a countertenor as Cesare, that might have been an interesting contribution to the catalog. If he had been experimental with tempi, or tried a radical rethinking of the treatments of the recits, it might be worthwhile to add another recording to the pile. But this is simply a by-the-numbers recording.

Speaking of countertenors, a word should be said about the Tolomeo here, Filippo Mineccia. Curtis has categorically eschewed countertenors on his recordings for a few years now, for whatever reason. So it is strange that when he finally drafts one, he turns not to great countertenor, but a problematic one. Mineccia's timbre is not for everyone. I happen to love most countertenor voices, and welcome them on almost any recording, but Mineccia's middle register is distinctly unpleasant to me. His upper extension is quite pretty and powerful, and even evokes Jaroussky at its best. But anything below the staff is hollow, and sounds like he's merely hanging on rather than a master of technique. His coloratura is quite impressive, though. If you don't like countertenors, you may wish to avoid this recording.

The rest of the singers are well-described in the other more critical reviews.

The recording quality is another puzzle. At times the sound is quite boxy, particularly the recits. The orchestra sounds very slick, almost as if they are a MIDI program. What's odd is that, occasionally it bursts forth from this box. Empio Diro Tu Sei for instance is a fiery tour de force from the orchestra--the sound of the cellos evokes the sound of a head being loosed from a body, appropriate for Cesare finding Pompey's head delivered to him. Other Curtis recordings seem to be more naturally engineered. I don't know if this is a record label thing?

In summary, if you have Jacobs, Minkowski, or Petrou, there is little reason to purchase this unless a favorite singer is in the cast. If you don't like countertenors in general, you probably will skip Tolomeo's arias. If engineering issues bother you, you might not enjoy the boxy and overly-slick production.

I would prefer that Curtis continue to give us new recording of Handel operas that are under-recorded. Poro, for instance, needs a good modern recording. Curtis did concert performances of Orlando with Iestyn Davies--that seems like a great potential CD.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Five stars, even if not yet perfect. 8. Oktober 2014
Von Abert - Veröffentlicht auf Amazon.com
Format: Audio CD
Everyone seems to have his/her favourite 'Giulius Cesare in Egitto', but I don't, having heard many other 'classic' recordings, e.g. Minkowski, Jacobs, Haim, the old Richter 1970's 'old style', Dantone (not commercially released),....and now this Alan Curtis, the most recent output.
The title role of Giulius Cesare, a role written for an alto castrato called Senesino, is either sung, in modern times, by mezzo-sopranos or countertenors. Few countertenor can do justice, though, including the great Andreas Scholl, who is visually ideal but vocally merely adequate. Even so, mezzo-sopranos fare little better, either. The range of Cesare's arias lies in the low mezzo-soprano fach, but not quite contralto. Majinovic for Minkowski is my biggest disappointment - the voice is gleamless and dull, with no flexibility for dynamics.
Here, the French singer Marie Lemieux is a real contralto. While the contralto role in this opera is Cornelia, Lemieux is successful in depicting a character whose tonality is utterly different from Cornelia. This is no meagre success for vocal portrayal of Giulius Cesare by a female singer. Lemieux's range may lie a tad lower than the role's tessitura, but in over 85% of the time she copes with the range really well, and her timbre is the most ideal for this role for performance in the original key (Dietrich Fischer-Dieskau is certainly dramatically the most cogent Cesare, but he sang an octave lower in bass-baritone). Lemieux's timbre is dark with a gleam in the lower range that Fink and Majinovic and Lamore all lack. This feature sets Lemieux's portrayal apart from all other ladies' vocal portrayals. For the high notes she is adequate but not vocally resplendent as her lower range. Luckily, such minor defect does not subtract substantially from the overall impression of her portrayal.
As her Cleopatra, fellow Canadian soprano Karina Gauvin sings expertly and dramatically, but I must admit that by this stage of her illustrious baroque career, Gauvin is more adept at the Strada roles of Handel than Cuzzoni roles. Her Cleopatra is still a force of nature, though, with finely polished expressivity throughout the different stages of the character's development. Her Se pietà di me non senti is so finely rendered that the illustrious former renditions are simply eclipsed by hers.
As Pompey's widow and son, Romina Basso is an expert but not affecting Cornelia. The feminity and pathos are subtly depicted, almost too subtly. As her son Sesto Pompey, young soprano Emoke Barath really steals the show. This is one of the most outstanding Sesto ever to be recorded, by far outshining the likes of Anne Sofie von Otter for Minkowski, who was caught too late in her illustrious career in that recording. Emoke Barath owns a juicy lyrical soprano voice, with a bright gleaming top and substantial middle range to carry Sesto's arias.
Many people heck out against Filippo Mineccia's Tolomeo, some thing that I cannot understand at all. This is one of the finest vocal portrayals of this villainous character ever in recordings. Mineccia is a character countertenor, and his vocal technique is first rate, with a keen dramatic sense to boot. The voice is plangent (luckily the Cesare is Lemieux), convincingly villainous and unscrupulous in one.
As Achilla, Johannes Weisser once again proves that he is a baroque bass baritone without peer. The dark and unfathomable timbre fills the sound system with gleaming resonance.
Alan Curtis conducts the score at a relatively crisp pace, making the drama even more vivid.
The only quibble that I have is that the forces of Curtis' Il Complesso Barocco is a bit on the lean side for a dramatic piece such as Giulius Cesare in Egitto.
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A DREAM RECORDING OF HANDEL'S OPERATIC MASTERPIECE 9. Januar 2013
Von WH CHARLTON-PERKINS - Veröffentlicht auf Amazon.com
Format: Audio CD
I find this new 3-CD set of Giulio Cesare, with Il Complesso Barocco conducted as ever by Handel speciliast, Alan Curtis, an unqualified triumph, both sonically and musically.

French Canadian contralto Marie-Nicole Lemieux is stunning in the title role. She turns in a towering performance, full of passion, fire and masculine swagger. Sample her richly textured singing of the great hunting aria, 'Va tacito e nascosto' (CD 1 track 26), the resplendid obbligato horn passages well to the fore, not least in the fine cadenza that rounds it off so triumphantly.

As Cleopatra, Lemieux's compatriot, Karina Gauvin, is predictably ravishing. Sustaining her reputation as today's reigning queen of Handel opera performance, the soprano - I beg to differ with another reviewer on this site - successfully runs the gambit of emotions the role demands through each of the eight glorious arias Handel wrote for his muse, Francesca Cuzzoni.

Madame Gauvin's heart-stopping singing in the opera's famous seduction number, 'V'adoro, pupille', is the loveliest I've heard. Ditto her heartfelt renderings of her two great laments, 'Se pieta', and 'Piangero, la sorte mia'; she turns in a delicately etched performance of 'La tua mia stella sei' and a spectacular account of Cleopatra's final show-stopper, 'Da tempeste il legno infranto'.

Romina Basso's gravely beautliful contralto is admirably suited to the music of the widow, Cornelia, and contrasts effectively with the youthful sounding soprano of Emöke Baráth as her son, Sesto. The rest of the cast do not disappoint.

Maestro Curtis himself wrote the superb embellishments for the da capo sections of the arias in this remarkable set, and one's listening is significantly enhanced by an edifying programme note by Olivier Rouvière and a lucid translation of the opera's libretto by Nicola Francesco Haym.

Well worth the wait, this highly recommended release endorses the accolade Naïve received at the 2012 Gramophone Awards as Label of the Year.
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