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Italianisches Liederbuch Audiolibro, CD, Importación

3,8 de un máximo de 5 estrellas
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3,8 de un máximo de 5 estrellas 4 opiniones de clientes

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CD de audio , Audiolibro, CD, 19 ago 2010
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EUR 13,92
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Descripción del producto

Felicity Lott, soprano - Peter Schreier, ténor - Graham Johnson, piano


Detalles del producto

Listas de canciones

Disco: 1

  1. Book I: auch kleine dinge
  2. Book I: mir ward gesagt
  3. Book I: ihr seid die allerschönste
  4. Book I: gesegnet sei
  5. Book I: selig ihr blinden
  6. Book I: wer rief dich denn?
  7. Book I: der mond hat
  8. Book I: nun laß uns frieden
  9. Book I: daß doch gemalt
  10. Book I: du denkst mit einem fädchen
  11. Book I: wie lange schon
  12. Book I: nein, junger herr
  13. Book I: hoffärtig seid ihr
  14. Book I: geselle, woll'n wir uns
  15. Book I: mein liebster ist so klein
  16. Book I: ihr jungen leute
  17. Book I: und willst du
  18. Book I: heb' auf dein blondes
  19. Book I: wir haben beide
  20. Book I: mein liebster singt
  21. Book I: man sagt mir
  22. Book I: ein ständchen
  23. Book II: was für ein lied
  24. Book II: ich esse nun mein brot
  25. Book II: mein liebster hat zu tische
  26. Book II: ich ließ mir sagen
  27. Book II: schon streckt' ich aus
  28. Book II: du sagst mir
  29. Book II: wohl kenn' ich euren stand
  30. Book II: laß sie nur gehn
  31. Book II: wie soll ich fröhlich sein
  32. Book II: was soll der zorn
  33. Book II: sterb' ich, so hüllt
  34. Book II: und steht ihr früh
  35. Book II: benedeit die sel'ge mutter
  36. Book II: wenn du, mein liebster
  37. Book II: wie viele zeit verlor ich
  38. Book II: wenn du mich
  39. Book II: gesegnet sei das grün
  40. Book II: o wär' dein haus
  41. Book II: heut' nacht erhob ich mich
  42. Book II: nicht länger kann ich
  43. Book II: schweig' einmal still
  44. Book II: o wüßtest du
  45. Book II: verschling' der abgrund
  46. Book II: ich hab' in penna

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Amazon.com: 3.8 de un máximo de 5 estrellas 4 opiniones
3 de 3 personas piensan que la opinión es útil
4.0 de un máximo de 5 estrellas Hugo Wolf's Art of the Aphorism 3 de febrero de 2014
Por jt52 - Publicado en Amazon.com
Formato: CD de audio Compra verificada
Hugo Wolf's "Italian Songbook," logging in at 46 songs, consists mainly of brief minute-long songs about country life. The male and female singers trade off their songs, all for solo voice without any duets, the terse songs presented for the most part just once, without any sort of recapitulation. Crafted from fragments and aphorisms, with different characters voicing their thoughts, the songbook tends to opera or a sort of tableaux of memoirs, so it's natural that soprano Felicity Lott and tenor Peter Schreier accent the dramatic angle in their 1993/1994 recording. At times, the singers are more than dramatic; they are emphatic, even melodramatic.

While a dramatic take on the Italian Songbook certainly has tradition on its side - it intensifies the approach of Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau in their reference recording from the 1960s - I found it a bit grating, especially in the first group of songs, finished in 1892. (The second set was completed in 1896, soon before the final psychiatric collapse that ended Wolf's once-promising career.) Take for example "Hoffartig" (track 13), a wonderful song that is given a surprisingly unmusical reading by Schreier - one that just lacks flow -- surprising because over his career he was anything but unmusical and unmelodic. Schreier was approaching 60 when this disc was recorded, towards the end of his career, and the precision and beauty so characteristic of his earlier recordings are sometimes marred by cracks in his technique and delivery, an example being an abrupt and unattractive "Mein leibster" (track 25). When Schreier and Lott, another singer with a proclivity for lyricism and flowing lines, settle down, the results can be beautiful. I very much enjoyed it when Lott's natural lyricism takes over in the wonderful "O war' dein Haus" (track 40) or when Schreier delivers a smooth and just brilliant "Wie viele Zeit" (track 37). Graham Johnson, that encyclopedist of 19th century song, provides capable accompaniment. Sound quality is very good.

I would characterize this as an uneven but at times very successful interpretation of the "Italian Songbook". Circling around the equator of the classic Schwarzkopf/Fischer-Dieskau recording, it is on the more dramatic side. On the other antipode, we have Christian Gerhaher's absolutely brilliant -- and quite undramatic -- work on a more recent RCA release. I bought this disc expecting it to be the best Italian Songbook ever, based on my admiration for Schreier's early work and for Lott's wonderful Morike/Goethe disc, so it fell short of those expectations. It certainly isn't the best, but its flaws shouldn't obscure its virtues.
6 de 6 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas The ultimate recording 3 de mayo de 2012
Por R. Platt - Publicado en Amazon.com
Formato: CD de audio
The previous (negative) reviewer is more than entitled to his opinion, but his view that Wolf's Eichendorff Lieder are superior to the same composer's Italienisches Leiederbuch is a VERY much a minority position. Most connoisseurs (including the great Eric Sams) firmly hold that only the Mörike book can match the Italian in its craftsmanship and exquisitely distilled emotions. The Eichendorff Lieder are charming, but, with a couple of exceptions, second-drawer Wolf.

The Schwarzkopf-Fischer-Dieskau-Moore recording on EMI will always be the standard interpretation, but I hold the Lott-Schreier-Johnson to be even finer in its subtle psychological shading, its watercolor textures, its fidelity to Wolf's key structure (Wolf meant the cycle to be performed by TENOR and soprano, not baritone and soprano), its vivid sound quality, and, not least, to Johnson's exhaustive scholarly yet entertaining notes. Also, Schwarzkopf was a little past her prime by the late 60's, and her affectations (sharp pitch in the middle register, for example), begin to cloy; Lott was at her best here.
3 de 7 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas positively glorious 27 de octubre de 2002
Por Un cliente - Publicado en Amazon.com
Formato: CD de audio
I don't know what planet the other reviewer lives on, but this recording is by far the finest I've every heard. Peter Schreier is at his usual impeccable best: dramatic, atuned to both lyric and music and Lott matches him well, except for some occasional intonation problems. I've heard a lot of Wolf songs, and in most cases, got bored in the middle. This recording showed me that it's not the songs that put me to sleep, it's the way they are usually sung. I couldn't stop listening to this one. Few artists in our time come anywhere near close to the level of artistry of Peter Schreier and frankly, I've never heard him do anything at all, this performance included, that wasn't artistically satisfying and basicly beyond reproach.
3 de 23 personas piensan que la opinión es útil
1.0 de un máximo de 5 estrellas and I thought Wolf/Goethe was bad 9 de marzo de 2001
Por Peter Shelley - Publicado en Amazon.com
Formato: CD de audio
Some believe that the songs that Austrian composer Hugo Wolf set to the poetry of various italian sources translated by Paul Heyse into german are Wolf's most exquisite and original work, and the consumation of his skill at German Lied. However, based on this recording of songs performed by soprano Felicity Lott and tenor Peter Schreier as accompanied by pianist Graham Johnson, I am afraid I cannot agree. On her recordings of Wolf/Morike Lieder accompanied by pianist Geoffrey Parsons, Lott revealed her voice to be the definitive female interpreter of Wolf's vocal writing. Here however both she and Schreier go at the songs in full bluster, as if they are tackling Goethe, or worse Wagner. It doesn't help that Wolf's settings are just as rambling as those he provided for Goethe, and that his melodies are less memorable and less disciplined than his work with Eichendorff, and even Morike. If listening to this selection of songs provided me with anything apart from a headache, it was evidence that my preference in Wolf songs are his Eichendorff, which seem to me to be everything the critics say his work for Heyse is - ie providing intense emotion in the quietest possible manner, with melody and accompaniment bearing a simplicity and limpid beauty. Although I derive less pleasure from the manly and humorous aspects of Eichendorff's poetry, the lyricism of the moonlit world in such classics as Verschwiegene Liebe are sublime. Of the 46 Wolf/Heyse songs presented here, only 2 approach the Eichendorff standard - Lott's Auch kleine Dinge, with a tension of restraint, and parts of Schreier's Benedict die sel'ge Mutter.