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Integrales de ópera - Publicado el 24 de noviembre de 2017 | Warner Classics

Hi-Res Libreto Premios Diapason d'or - 4F de Télérama - Gramophone Record of the Year - Gramophone Award - Gramophone Record of the Month - Victoire de la musique - 4 étoiles Classica
Perdonaremos muy gustosamente las pocas «flaquezas» de la técnica sonora de esta grabación de Les Troyens, la inmensa ópera de Berlioz (realizada en directo y durante un concierto en abril de 2017) considerando la calidad musical y vocal de primerísimo nivel de la distribución (con una gran, y bella, mayoría de voces francesas, encabezadas por Stéphane Degout), de la Orquesta Filarmónica de Estrasburgo y de los tres coros aquí reunidos –inmensas marolas corales acompasan la obra–, el coro de la Ópera Nacional del Rin, el coro de la Ópera Nacional de Baden y los propios coros de la Filarmónica de Estrasburgo. La presente grabación reposa evidentemente en la edición completa original que ofrece Los Troyanos tal como se representó en 1863, antes de que el Théâtre-Lyrique, mediante intensa carnicería, hiciera dos óperas distintas, La Prise de Troie (con los actos I y II) y Les Troyens à Carthage (con los actos III a V), lo que no respeta en absoluto la partitura completa. Apreciaremos por supuesto la imaginación orquestal de Berlioz quien, a cada obra nueva, inventaba a mansalva, presentando prototipos vanguardistas sin dormirse nunca en los laureles. Señalamos la presencia de seis saxhorns, recién inventados por Adolphe Sax (Berlioz fue su incasable paladín, aun cuando no utilizó mucho estos instrumentos en sus composiciones, teniendo acaso en cuenta la pésima calidad de los primeros instrumentistas que supieron –o no– tocarlos), del clarinete bajo y de un ejército de percusiones, entre las cuales algunos instrumentos que debieron sorprender en la época: platillos antiguos, darbuka, tam-tam, máquina de trueno… He aquí una grabación que, obviamente, supone un verdadero hito en la discografía berlioziana. © SM/Qobuz
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Ópera - Publicado el 22 de noviembre de 2019 | Warner Classics

Hi-Res Libreto Premios 4F de Télérama - Diapason d'or / Arte
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Ópera - Publicado el 1 de enero de 1992 | Warner Classics International

Premios Diapason d'or - 4 étoiles Classica
Béatrice et Bénédict, Berlioz's last completed work, is based on Shakespeare's Much Ado About Nothing, but the libretto, by the composer, dispenses with most of the intrigue of the original and reduces the plot to a single premise: Béatrice et Bénédict mask their affection for each other by squabbling, and then finally come to their senses and get married. Although designated an opera, it is closer in effect to an opéra comique because of its very extensive use of spoken dialogue. The effectiveness of a recording of an opera with this amount of dialogue depends at least in part on the persuasiveness of the spoken drama, and on that count this version is largely successful because it uses professional actors. They make the comedy plausibly fun, so that the listener is fully engaged, not just waiting around impatiently for the music to start up again. A great amount of attention has been given to production values, with impressive sound effects and realistic spatial blocking. The vocal performances are for the most part well taken, but the women outshine the men. Soprano Sylvia McNair in the relatively small role of Héro practically steals the show. Her aria, "Je vais le voir," is the undisputed highlight of the album because of the music -- this is Berlioz at his most melodically eccentric, most deeply felt, and most inspired -- and because of McNair's radiant, soaring performance. A close runner-up is the gorgeous, graceful women's trio, "Je vais d'un coeur aimant être la joie et le bonheur suprême," with McNair, Susan Graham as Béatrice, and Catherine Robbin as Ursule, Héro's lady-in-waiting. The rhapsodic duet with McNair and Robbin, "Nuit paisible et sereine!" also deserves mention, as does Béatrice's aria, "Dieu! que viens-je d'entendre?"; Berlioz's writing for women in this opera is consistently spectacular. In the opera's leading role, Graham sings with warmth and smooth lyricism, but because of the fragmented nature of the opera, it's difficult for her, or almost any other cast member, for that matter, to establish much of a sense of dramatic momentum. An exception is baritone Gabriel Bacquier as Somarone, a comic character invented by Berlioz to lampoon the pomposity of the composer Spontini. Bacquier is in excellent vocal form and he is a natural comedian, and he alone performs the spoken dialogue as well as singing. The remaining singers, Jean-Luc Viala as Bénédict, Vincent le Texier as Don Pedro, and Gilles Cachemaille as Claudio, are adequate at best. John Nelson, leading the Orchestra and Chorus of l'Opéra de Lyon, delivers an exceptionally polished performance and keeps things moving at a vivacious clip. The sound of the 1991 recording is disappointingly one-dimensional (except, paradoxically, for the sections featuring the actors), dull, and sometimes distant. © TiVo
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Clásica - Publicado el 20 de septiembre de 2019 | Warner Classics

Hi-Res Libreto
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Música sinfónica - Publicado el 5 de diciembre de 2006 | Ambroisie - naïve

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Ópera - Publicado el 1 de enero de 1992 | Warner Classics

Béatrice et Bénédict, Berlioz's last completed work, is based on Shakespeare's Much Ado About Nothing, but the libretto, by the composer, dispenses with most of the intrigue of the original and reduces the plot to a single premise: Béatrice et Bénédict mask their affection for each other by squabbling, and then finally come to their senses and get married. Although designated an opera, it is closer in effect to an opéra comique because of its very extensive use of spoken dialogue. The effectiveness of a recording of an opera with this amount of dialogue depends at least in part on the persuasiveness of the spoken drama, and on that count this version is largely successful because it uses professional actors. They make the comedy plausibly fun, so that the listener is fully engaged, not just waiting around impatiently for the music to start up again. A great amount of attention has been given to production values, with impressive sound effects and realistic spatial blocking. The vocal performances are for the most part well taken, but the women outshine the men. Soprano Sylvia McNair in the relatively small role of Héro practically steals the show. Her aria, "Je vais le voir," is the undisputed highlight of the album because of the music -- this is Berlioz at his most melodically eccentric, most deeply felt, and most inspired -- and because of McNair's radiant, soaring performance. A close runner-up is the gorgeous, graceful women's trio, "Je vais d'un coeur aimant être la joie et le bonheur suprême," with McNair, Susan Graham as Béatrice, and Catherine Robbin as Ursule, Héro's lady-in-waiting. The rhapsodic duet with McNair and Robbin, "Nuit paisible et sereine!" also deserves mention, as does Béatrice's aria, "Dieu! que viens-je d'entendre?"; Berlioz's writing for women in this opera is consistently spectacular. In the opera's leading role, Graham sings with warmth and smooth lyricism, but because of the fragmented nature of the opera, it's difficult for her, or almost any other cast member, for that matter, to establish much of a sense of dramatic momentum. An exception is baritone Gabriel Bacquier as Somarone, a comic character invented by Berlioz to lampoon the pomposity of the composer Spontini. Bacquier is in excellent vocal form and he is a natural comedian, and he alone performs the spoken dialogue as well as singing. The remaining singers, Jean-Luc Viala as Bénédict, Vincent le Texier as Don Pedro, and Gilles Cachemaille as Claudio, are adequate at best. John Nelson, leading the Orchestra and Chorus of l'Opéra de Lyon, delivers an exceptionally polished performance and keeps things moving at a vivacious clip. The sound of the 1991 recording is disappointingly one-dimensional (except, paradoxically, for the sections featuring the actors), dull, and sometimes distant. © TiVo
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Clásica - Publicado el 29 de enero de 2001 | Warner Classics

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Música sinfónica - Publicado el 9 de febrero de 2009 | Ambroisie - naïve

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Música vocal sacra - Publicado el 1 de octubre de 2004 | HORTUS

Libreto
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Audiolibros - Publicado el 13 de diciembre de 2016 | Nelson John Music

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World music - Publicado el 14 de julio de 2017 | Impronta Music

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Rock - Publicado el 1 de octubre de 2011 | John Nelson Music

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Folk - Publicado el 1 de enero de 2012 | Mystery Bay

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Pop - Publicado el 1 de junio de 2014 | Impronta Music

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Audiolibros - Publicado el 17 de noviembre de 2016 | Nelson John

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Latina - Publicado el 2 de junio de 2017 | Impronta Music

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Lounge - Publicado el 3 de diciembre de 2018 | Nelson John

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Ambientes - Publicado el 25 de noviembre de 2017 | Nelson John

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Rock - Publicado el 30 de enero de 2012 | John Nelson

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Rock - Publicado el 1 de noviembre de 2010 | John Nelson Music