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L'Italiana In Algeri Doppel-CD

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Preis: EUR 6,49 Kostenlose Lieferung ab EUR 29 (Bücher immer versandkostenfrei). Details
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Audio-CD, Doppel-CD, 28. Mai 2010
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Titelverzeichnis

Disk: 1

  1. Rossini : L'italiana in Algeri : Overture to Act 1
  2. L'Italiana in Algeri : Acte I - scena 1 - Introduzione
  3. L'Italiana in Algeri : Acte I - scena 1 Recitativo
  4. L'Italiana in Algeri : Acte I - Scena 2 - Recitativo (Mustafa, Haly)
  5. L'Italiana in Algeri : Acte I - Scena 3 - Catavina
  6. L'Italiana in Algeri : Acte I - Scena 3 - Recitativo
  7. L'Italiana in Algeri : Acte I - Scena 3 - Duetto
  8. L'Italiana in Algeri : Acte I - Scena 4 - Coro e catavina (Haly, Isabella
  9. L'Italiana in Algeri : Acte I - Scena 4 - Recitativo
  10. L'Italiana in Algeri : Acte I - Scena 5 - recit
  11. L'Italiana in Algeri : Acte I - Scena 5 - Duetto
  12. L'Italiana in Algeri : Acte I - Scena 7 - recit (Mustafa, Lindoro)
  13. L'Italiana in Algeri : Acte I - Scena 8 - recitativo
  14. L'Italiana in Algeri : Acte I - Scena 8 - Aria (Mustafa)
  15. L'Italiana in Algeri : Acte I - Scena 10 - Coro, Haly, Mustafa
  16. L'Italiana in Algeri : Acte I - Scena 11 - Isabella, Mustafa
  17. L'Italiana in Algeri : Acte I - Scena 12 - Taddeo, Haly, Mustafa, Isabelle
  18. L'Italiana in Algeri : Acte I - Scena 13 - Tutti col coro

Disk: 2

  1. L'Italiana in Algeri : Acte II - Scena 1 - Coro, Elvira, Zulma, Haly
  2. L'Italiana in Algeri : Acte II - Scena 2 - Mustafa, Zulma, Elvira, Haly
  3. L'Italiana in Algeri : Acte II - Scena 3 - recit
  4. L'Italiana in Algeri : Acte II - Scena 3 - Cavatina (Lindoro)
  5. L'Italiana in Algeri : Acte II - Scena 4 - recit
  6. L'Italiana in Algeri : Acte II - Scena 4 - Coro
  7. L'Italiana in Algeri : Acte II - Scena 4 - recit
  8. L'Italiana in Algeri : Acte II - Scena 4 - Aria (Taddeo, coro)
  9. L'Italiana in Algeri : Acte II - Scena 5 - recit (Isabella, Lindoro, Elvira, Zulma)
  10. L'Italiana in Algeri : Acte II - Scena 5 - Catavina (Isabella, Lindoro, Elvira, Zulma)
  11. L'Italiana in Algeri : Acte II - Scena 6 - recit
  12. L'Italiana in Algeri : Acte II - Scena 6 - Quintetto (Mustafa, Isabella, Taddeo, Lindoro, Elvira)
  13. L'Italiana in Algeri : Acte II - Scena 7 - recit
  14. L'Italiana in Algeri : Acte II - Scena 7 - Aria (Haly)
  15. L'Italiana in Algeri : Acte II - Scena 8 - Taddeo, Lindoro
  16. L'Italiana in Algeri : Acte II - Scena 9 - Recit
  17. L'Italiana in Algeri : Acte II - Scena 9 - Terzetto (Mustafa, Lindoro, Taddeo)
  18. L'Italiana in Algeri : Acte II - Scena 11 - recit
  19. L'Italiana in Algeri : Acte II - Scena 11 - Coro, recit, rondo (Isabella)
  20. L'Italiana in Algeri : Acte II - Scena 12 - Mustafa, Taddeo
  21. L'Italiana in Algeri : Acte II - Scena 13 - Lindoro, coro, Taddeo, Mustafa
  22. L'Italiana in Algeri : Acte II - Scena 14 - Isabella, Mustafa, coro, Lindoro, Taddeo
  23. L'Italiana in Algeri : Acte II - Scena 15 - Coro, Lindoro, Isabella, Taddeo, Mustafa
  24. L'Italiana in Algeri : Acte II - Scena ultima - Tutti col coro

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Amazon.com: 5.0 von 5 Sternen 2 Rezensionen
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen The best recording (and I don't often say that) 5. Januar 2016
Von Ralph Moore - Veröffentlicht auf Amazon.com
Format: Audio CD
This is one of the most consistently inspired and musically inventive of Rossini's comic opera and under the fleet baton of Claudio Scimone, directing a full and updated edition of the score, the whole thing positively fizzes along, helped by a stellar cast headed by Marilyn Horne. The orchestra plays the Janissary (Turkish band) music with real verve and infuses proceedings with life and humour.

It is true that she is just a bit mature and stentorian in voice and manner to be the complete charmer and there is sometimes something a bit formidable about her characterisation but she is meant to be a kind of dominatrix and to be fair she is capable of singing the gentle introduction to "Per lui che adoro" with melting beauty.She has everything in her vocal armoury: trills, impeccably executed runs and turns, limitless breath for the cantilena passages - and she is also very funny in her inflection of asides like "Oh! che muso".

Samuel Ramey is marvellous as the smitten Mustafà, grave and pompous then suitably absurd, curling his beautiful, sonorous bass around the ornamentation effortlessly and producing some terrific top F's, G flats and even top G's on "Pappataci Mustafà" in the hilarious induction scene. Palacio's tenor can turn a little hard and nasal in forte passages but he is also nuanced and flexible as a Rossini tenor must be. Kathleen Battle is sweet and alluring as the wronged and patient Elvira, crowning the typically Rossinian "choo-choo-train" conclusion to Act 1 with soaring top C's. This is a great scena including some delectable changes of mood signalled by some delectable key changes and extending over ten minutes to the kind of climax only Rossini can could engineer.

The whole opera is a swiftly paced delight and unlikely to be superseded by any other recording; although I do like both Jennifer Larmore and Lucia Valentini Terrani in their recordings, their Mustafàs are not as beguiling as Ramey. (Be warned: the original, aptly named "Libretto" edition from Erato contained at least the Italian text; the newer Warner bargain issue does not.)
4 von 4 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen In every respect, a reference recording! 26. Oktober 2013
Von Luca - Veröffentlicht auf Amazon.com
Format: Audio CD
Recorded in June, 1980, this studio (Teatro Comunale di Treviso) performance of the opera Stendhal defined as "the perfection of Buffo genre" is simply extraordinary.
(This is a Warner reissue of the original Erato edition.)

"L'italiana in Algeri" is sheer fun; but, obviously, it is based on both masterful music and verses (Angelo Anelli - 1761-1820 - was an expert librettist and a multifaceted man of letters and law, sincerely admired by Stendhal; Gaetano Rossi - 1774-1825 -, who had to modify the libretto originally written for Luigi Mosca, he too was a very skilled librettist): this superb performance perfectly manages to extract from music and words all the artistic richness they contain.

Marilyn Horne's (b. 1934) Isabella is fantastic: here we attend a real belcanto masterclass! If perfection does exist, here we meet a serious essay to achieve it. Sensitive, subtle, interpretation and masterly singing technique are skillfully merged, obtaining an astonishing result: pure art, without any minimal trace of affectation or non context-sensitive "virtuosismo".
Maybe Isabella asks for a bit more youngish voice, but Isabella is also a mature and self-confident young woman; therefore, in my opinion, Horne's timbre, surely not childish, is not out of place.

Samuel Ramey (b. 1942) is a wonderful Mustafà. His convincing interpretation is really amusing and excellently sung. Mustafà's egoistic coarseness, at once dangerously violent and ridiculously silly, is perfectly rendered by means of a real artistic talent.

Kathleen Battle (b. 1948) is perfect for the role of Elvira. Her mellow voice and her interpretative excellent skills create the sweet, miserable, faithful, devote victim of Mustafà's sentimental blindness: really superb!

Ernesto Palacio (b. 1946) has always been a specialist in the role of Lindoro. Tender, but not mellifluous, sensitive but clever, Palacio's Lindoro is doubtless excellent and appropriately depicted.

The always reliable Domenico Trimarchi (b. 1940) depicts a vivid and really amusing Taddeo, a key-role in Anelli-Rossini's "buffa" construction. An excellent Clara Foti, a convincing Zulma, completes the superb cast.

Claudio Scimone (b. 1934) conducts "his" superb Solisti Veneti with the usual masterly. Tempos are perfectly chosen, harmonic and melodic aspects are ideally merged, Rossini's typical effects find their natural collocation. Gianni Chiampan (cello), Leonardo Colonna (double bass) and Daniele Roi (harpsichord) complement the whole with their "wise" continuo.

The Prague Philharmonic Chorus (under a real Master, Josef Veselka, 1910-1992) contribution is characterized by a particular and inspired colorfulness. Maybe some vocals do not sound exactly Italian, but, on the whole, the performance is really excellent.

But, in my opinion, the main general feature here is the sensation of a really strong compactness of all the components, so rare when the cast is composed by stars and superstars.

The ADD stereo sound is excellent on the whole; outstanding in the most difficult feature to achieve in operatic recordings: the balance among voices and instruments.

The booklet contains the track-list and a synopsis in English, French and German, but not the libretto.
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