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Verdi: Un Ballo in Maschera (Gesamtaufnahme) (Aufnahme Mailand 1956) Doppel-CD

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Audio-CD, Doppel-CD, 25. April 1997
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EUR 39,90
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Produktinformation

  • Komponist: Giuseppe Verdi
  • Audio CD (25. April 1997)
  • SPARS-Code: DDD
  • Anzahl Disks/Tonträger: 2
  • Format: Doppel-CD
  • Label: EMI Classics (EMI)
  • ASIN: B000002RY4
  • Weitere Ausgaben: Audio CD
  • Durchschnittliche Kundenbewertung: 4.5 von 5 Sternen 2 Kundenrezensionen
  • Amazon Bestseller-Rang: Nr. 337.881 in Musik (Siehe Top 100 in Musik)
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Titelverzeichnis

Disk: 1

  1. Preludio - Orch Del Teatro Alla Scala, Milano/Antonino Votto
  2. Posa in pace, a' bei sogni ristora - Coro Del Teatro Alla Scala, Milano/Norberto Mola/Silvio Maionica/Nicola Zaccaria
  3. S'avanza il Conte - Eugenia Ratti/Giuseppe Di Steffano
  4. La rivedrà nell'estasi - Giuseppe Di Steffano/Eugenia Ratti/Coro Del Teatro Alla Scala, Milano/Norberto Mola/Silvio Maionica/
  5. Il cenno mio di là con essi attendi - Giuseppe Di Steffano/Eugenia Ratti/Tito Gobbi
  6. Alla vita che t'arride - Tito Gobbi
  7. Il primo giudice - Eugenia Ratti/Giuseppe Di Steffano/Renato Ercolani
  8. Volta la terrea - Eugenia Ratti/Giuseppe Di Steffano/Renato Ercolani/Tito Gobbi/Silvio Maionica/Nicola Zaccaria...
  9. Ogni cura si doni al diletto - Giuseppe Di Steffano/Tito Gobbi/Eugenia Ratti/Silvio Maionica/Nicola Zaccaria...
  10. Zitti... l'incanto non dessi turbare... Re dell'abisso, affrettati - Coro Del Teatro Alla Scala, Milano/Norberto Mola/Fedora Barbieri
  11. Arrivo il primo!... E lui, è lui! - Giuseppe Di Steffano/Coro Del Teatro Alla Scala, Milano/Norberto Mola/Fedora Barbieri
  12. Su, fatemi largo, saper vo' il mio fato - Ezio Giordano/Fedora Barbieri/Giuseppe Di Steffano
  13. Rallegrati omai - Fedora Barbieri/Ezio Giordano/Giuseppe Di Steffano/Coro Del Teatro Alla Scala, Milano...
  14. Che v'agita così? - Maria Callas
  15. Della città all'occaso - Fedora Barbieri/Giuseppe Di Steffano
  16. Consentimi, o Signore - Fedora Barbieri/Maria Callas/Giuseppe Di Steffano
  17. Figlia d'averno, schiudi la chiostra - Coro Del Teatro Alla Scala, Milano/Norberto Mola/Fedora Barbieri/Maria Callas/Giuseppe Di Steffano
  18. Su, profetessa, monta il treppiè - Coro Del Teatro Alla Scala, Milano/Norberto Mola/Eugenia Ratti/Giuseppe Di Steffano
  19. Di' tu se fedele - Giuseppe Di Steffano/Coro Del Teatro Alla Scala, Milano/Norberto Mola
  20. Chi voi siate, l'audace parola - Fedora Barbieri/Giuseppe Di Steffano/Silvio Maionica/Eugenia Ratti
  21. E scherzo od è follia - Giuseppe Di Steffano/Fedora Barbieri/Silvio Maionica/Nicola Zaccaria/Eugenia Ratti
  22. Finisci il vaticinio - Giuseppe Di Steffano/Fedora Barbieri/Silvio Maionica/Nicola Zaccaria/Ezio Giordano/Tito Gobbi
  23. Preludio 2. Akt - Orch Del Teatro Alla Scalla, Milano/Norberto Mola
  24. Ecco l'orrido campo ove s'accoppia - Maria Callas
  25. Ma dall'arido stelo divulsa - Maria Callas
  26. Teco io sto - Giuseppe Di Steffano/Maria Callas
  27. Non sai tu che se l'anima mia - Giuseppe Di Steffano
  28. Oh, qual soave brivido - Giuseppe Di Steffano/Maria Callas

Disk: 2

  1. Ahimè! s'appressa alcun - Maria Callas/Giuseppe Di Steffano/Tito Gobbi
  2. Amico, gelosa t'affido una cura - Giuseppe Di Steffano/Tito Gobbi
  3. Odi tu come fremono cupi - Maria Callas/Tito Gobbi/Giuseppe Di Steffano
  4. Seguitemi - Giuseppe Di Steffano
  5. Ve', se di notte qui colla sposa - Tito Gobbi/Maria Callas/Coro Del Teatro Alla Scala, Milano/Nortberto Mola/Silvio Maionica...
  6. A tal colpa è nulla il pianto - Tito Gobbi/Maria Callas
  7. Morrò, ma prima in grazia - Maria Callas
  8. Alzati! là tuo figlio - Tito Gobbi
  9. Eri tu che macchiavi quell'anima... O dolcezze perdute! O memorie - Tito Gobbi
  10. Siam soli. Udite - Nicola Zaccaria/Silvio Maionica/Tito Gobbi
  11. Dunque l'onta di tutti sol una - Tito Gobbi/Silvio Maionica/Nicola Zaccaria
  12. D'una grazia vi supplico - Tito Gobbi/Maria Callas
  13. Qual è dunque l'eletto?... Ah! del Conte la morte si vuole! - Tito Gobbi/Silvio Maionica/Nicola Zaccaria/Maria Callas
  14. Il messaggio entri - Tito Gobbi
  15. Ah! Di che fulgor, che musiche - Tito Gobbi/Eugenia Ratti/Maria Callas/Silvio Maionica/Nicola Zaccaria
  16. Forse la soglia attinse - Giuseppe Di Stefano
  17. Ma se m'è forza perderti - Giuseppe Di Stefano
  18. Ah! dessa è là - Giuseppe Di Stefano/Eugenia Ratti
  19. Fervono amori e danze - Coro Del Teatro Alla Scala, Milano/Norberto Mola/Silvio Maionica/Tito Gobbi/Nicola Zaccaria/Eugenia
  20. Saper vorreste di che si veste - Eugenia Ratti
  21. Fervono amori e danze - Coro Del Teatro Alla Scala, Milano/Norberto Mola/Tito Gobbi/Eugenia Ratti
  22. Ah! perché qui! fuggite - Maria Callas/Giuseppe Di Stefano
  23. E tu ricevi il mio! - Tito Gobbi/Giuseppe Di Stefano/Maria Callas/Eugenia Ratti/Coro Del Teatro Alla Scala, Milano...
  24. Ella è pura: in braccio a morte - Giuseppe Di Stefano/Maria Callas/Eugenia Ratti/Coro Del Teatro Alla Scala, Milano/Norberto Mola...


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Von K.H. Friedgen TOP 500 REZENSENT am 17. September 2015
Format: Audio CD Verifizierter Kauf
Um die Mitte der 1950er Jahre stand Maria Callas im Zenit ihrer leider viel zu kurzen Sängerlaufbahn. Zu dieser Zeit produzierte Walter Legge von EMI eine ganze Serie italienischer Opern mit der Künstlerin, in Zusammenarbeit mit den Kräften der Mailänder Scala.
Ein unbestreitbarer Höhepunkt ist diese Aufnahme von "Un ballo in maschera" aus dem Jahr 1956. Nicht nur die Callas ist in Höchstform, die übrigen Mitwirkenden lassen sich von ihrer Leidenschaft buchstäblich anstecken, und so ist eine selten homogene, unwiederholbare Aufnahme entstanden, die trotz der nur mittelmäßigen Mono-Klangqualität noch heute als Referenzaufnahme gelten kann.
Die vielschichtige, abwechslungsstarke Rolle der Amelia ist Maria Callas wie auf den Leib geschrieben, sie vollbringt ein Gesamtkunstwerk von einzigartiger Güte. Keine ihrer Kolleginnen hat die wechselvollen Gefühle der Figur so glaubhaft, so eindrucksvoll zu vermitteln gewußt wie die große Griechin. Im Liebesduett des 2. Aktes reißt sie ihren Partner Giuseppe di Stefano (Riccardo) förmlich mit, und die große Arie des dritten Aktes "Morrò, ma prima in grazia", nachdem ihr Ehemann Renato Kenntnis von ihrer Affäre mit dem Gouverneur erhalten hat, ist wahrhaft herzerweichend, wie auch die musikalisch ergreifende Schlußszene, die rein musikalisch zu den schönsten Eingebungen Verdis zählt.
Giuseppe di Stefano, sonst oft ein wenig oberflächlich und unbeteiligt, gibt seiner Rolle Profil und singt tadellos, mit wunderschönen Kantilenen.
Lesen Sie weiter... ›
Kommentar 2 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich? Ja Nein Feedback senden...
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Wer ein Callas-Fan ist, kommt auf seine Kosten. Ok, die Aufnahme ist alt, aber die Stimme ist natürlich zeitlos und begeistert sicher auch jüngere Opernfans (gibt es jüngere Opernfans? Also Leute, die jetzt nicht gerade das Opernfach studieren.) Fazit: Callas, ein Genuss, schon allein wegen der Bandbreite. Ich persönlich mag andere Stimmen lieber, aber ich ziehe trotzdem den Hut vor der Bandbreite dieser Stimme.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)

Amazon.com: 3.4 von 5 Sternen 11 Rezensionen
8 von 9 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen wonderful - but mono and vocally flawed, 11. Juli 2006
Von Ralph Moore - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
I prefer this to the much vaunted alternative live recording from the following year featuring Bastianini rather than Gobbi; I do not think the added electricity of that live performance outweighs the pleasure derived from hearing the opera in the clear sound of the studio version. Dramatically there really isn't that much difference. All three principals, although impassioned and vivid in their acting, evince their usual vocal flaws: Callas mixes velvety tone and trenchant lower register with some strident top notes, Gobbi also strains on top, Di Stefano often sounds sharp and he yelps a bit. The best all round performance is the Leinsdorf with Price, Bergonzi and Merrill, the latter bringing a subtlety to his performance which he did not always strive to apply - and he simply has the better Verdi voice, for all Gobbi's artistry. Price is often as magnificent as Callas with her smoky, soaring spinto and Bergonzi is much more at ease with Riccardo's yearning phrases. - and the lighter, more humorous sections of the score.
I still want to own the Votto for Callas' unique plangency and psychological insight but the Leinsdorf remains the best choice for the collector - especially as Verrett, too, is more characterful and has a more integrated voice than the stentorian Barbieri as Ulrica.
1 von 2 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen A dull, studio-bound star showcase 19. Februar 2015
Von pekinman - Veröffentlicht auf Amazon.com
Format: Audio CD
Un ballo in maschera has become my second favorite Verdi opera, after Simon Boccanegra. It took many years for this to happen but my love for this beautiful work has grown incrementally since my initial aversion to it, due mainly to the sometimes annoying character of Oscar. Ballo is Verdi's most scintillating composition, more so even than Falstaff, an opera that for all it's masterfulness, seems to be trying too hard to be amusing. This can happen in Ballo too if the tenor overdoes the chuckling bits in Act 1 scene 2 in Ulrica's shack. Which is what happens here. Giuseppe di Stefano, nobbled by Antonino Votto's lifeless and pedantic conducting goes overboard with the laughing nonsense to try and compensate for the lack of spirit coming from the conductor.

Along with Di Stefano's futile effort to make this opera sizzle, Maria Callas' voice is not in the best shape. The trademark guttural noises she makes in her middle voice well to the fore, and she is doing her Diva in the Studio number and is not really very involved in the drama beyond sounding like she is, but the effect is hollow and unmemorable, for her. Tito Gobbi holds up his end very well, however. No amount of bad conducting or stifled studio conditions ever got in his way of delivering a memorable and beautifully sung and acted portrayal. Eugenia Ratti's Oscar isn't very good. Her shrill, rhythmically unsteady and occasionally out of tune Oscar is the reason I didn't like this opera for so long. This was my first recording. If I had started with Solti or Muti I would have been an instant fan.

The EMI monophonic sound is quite fine, the orchestra of La Scala is good, as is the chorus, though they are just standing there with scores in hand thinking about what they are going to have for lunch after the session ends.

What kills this set stone dead, however, is Votto's pedestrian and boring leadership. A pity. If it had been Serafin or Karajan it would have been a different story I expect.
6 von 7 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Solid and interesting. Callas shines! 21. Februar 2002
Von Armindo - Veröffentlicht auf Amazon.com
Format: Audio CD
This Ballo has been regarded, by many, as the best commercially available Ballo. Votto has chosen the well-tried formula of Callas, Di Stefano, Gobbi and Barbieri. To me the set's strengths and weaknesses are similar to the Callas EMI Il Trovatore recording although here I find Di Stefano more bearable for the role of Riccardo than Manrico. Returning to Callas, her Amelia is exciting and mysterious. Her unique "mezza notte" outburst in the first big aria always drives me crazy. I do sometimes miss the spinto voice and grand manner that Tebaldi (more evident in her first recording of the opera's arias) and Price have. However, Callas here is unforgettable, making me regard this as one of her best performances on disc. If only she had focused more on Verdi and especially early Verdi (Macbeth, Nabucco etc) and avoided Puccini.
Di Stefano is again, as in Il Trovatore, somewhat miscast. Fortunately, here he does not have to sing the high notes Manrico requires. Despite quite a few shouting moments, he is generally acceptable, although any comparison to the one-and-only Carlo Bergonzi (NOT TO BE MISSED) or Pavarotti in the early decca recording is fatal for Di Stefano. Just listen to what Bergonzi does with the laughing scene...and then listen to Di Stefano...a world of difference! Equally important as the tenor in this opera is the baritone and Gobbi is fine indeed. Sure, he pushes it too far sometimes and shouts but there are not many who gave so much life to the wonderful character of Renato. Merril on the RCA set gives vocally a much better performance but still Gobbi is good. I also liked Barbieri's Ulrica but Verrett is more convincing. Ratti good, if a bit shrill at times. Votto, if not Serafin, remains a credible conductor.
In general, a great Ballo recording that stands out because of Callas and Gobbi. I do find it unacceptable that in '56, EMI still had mono recordings but anyway(decca had stereo in '53)! The RCA with the dream cast Bergonzi, Price, Merrill and Verrett contains supreme singing. The Decca Tebaldi - Pavarotti (Tebaldi's last recorded opera) and DG Doming-Ricciarelli also have their fans.
7 von 7 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen error in remastering fixed? 4. März 2008
Von davidissimo - Veröffentlicht auf Amazon.com
Format: Audio CD
Apart from being heavily filtered and losing the "bloom" of the original recording that was nicely captured in the first CD re-issuse, there is music missing from this issue. A brief but IMPORTANT omission.

There should be 3 fortissimo chords beginning Act1, scene 2 (Ulrica's den, track 10). Unfortunately here there are only 2 chords. This may seem persnickety, but in fact to this or any "Ballo" lover it will be very unsettling, when one knows this opera thoroughly and has been listening to this or any other recording of same opera for 30 of 40 years, one knows bodily, instinctually, to expect those 3 FATEFUL chords before the cellos intone their ominous lament.

EMI has inadvertently cut off the opening 1 of the 3 chords. Alas. Has this error been fixed?
18 von 20 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Callas and Gobbi have it all! 10. Juni 2002
Von Harrmor - Veröffentlicht auf Amazon.com
Format: Audio CD
Well, this recording dates back to 1956 and is the last studio recording that Callas made with di Stefano (their relationships were getting worse and they didn't collaborate again until 1973!!). Although they were not in very good terms, this fact does not appear at all in this recording. Their love duet in the second act is magnificently sung both artistically and dramatically.
Callas is in quite in good voice here and sings the role of Amelia with conviction. We really sympathize with her in her pleadings to see for the last time her son and in her agony about the proximent death of the Count.
But most of all I admire Gobbi interpretation of Renato. He is a wonderful actor. At first, he is nice, good, cares a lot about his friend's life and all these can be heard. But, when he discovers his wife with his best friend, jealousy bursts in him and fury overtakes him. His voice becomes menacing full of anger. But in the end, when he learns the whole truth, his voice is filled with remorse and pity. WOW!
So, this recording is higly recommended. We have 3 wonderful voices and 2 more than wonderful actors.
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