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【中古】CONTRASTES〈初回限定盤〉 [DVD]

【中古】CONTRASTES〈初回限定盤〉 [DVD]【メーカー名】【メーカー型番】【ブランド名】【商品説明】CONTRASTES〈初回限定盤〉 [DVD]Amazonより DVDの性能をフルに発揮させることを前提に、 日本のギター界の若き至宝、村治佳織が、スペインの大作曲家ロドリーゴの生誕100年を記念してアランフェス協奏曲他ソロ3曲をアランフェス宮殿で、またファリャ、トゥリーナらの作品をマドリッド近郊の町ペドラッサ、古城（マンサナレス城）などで映像収録した超話題盤。 3か月にもわたるスペイン・ロケ、最新鋭デジタル・シネマ・システムによる撮影、一般観光客には入れない礼拝堂も含め世界初のアランフェス宮殿での演奏映像、スペイン気鋭の映像ディレクター、ジョアン・リエドベックの起用による映画的制作、どれをとっても人気・実力ともにず抜けた村治だからこそ実現したぜいたくな企画。 遠い異国スペイン独特の微妙な光と影と空気感、大理石の回廊の音、そして演奏する村治の息づかい…。最新鋭ハイビジョン映像のディテールと5.1chサラウンド音響の効果を満喫できるという意味でも絶好の作品だ。そしてここから浮かび上がってくるのは、ビジュアルばかりではなく、ひたすら純粋に音楽に没入する村治の凛（りん）とした精神の美しさである。とりわけエンシナル指揮マドリッド州立交響楽団をバックに演奏したアランフェス協奏曲は、村治をはじめ全員が息をのむような集中力で、画面から眼が離せなくなる出色の出来。あらゆる音楽ファンを納得させる待望の映像ソフトの登場である。 なお初回限定盤のみDVD、VHSそれぞれ別々のメイキングシーンを収録、彼女の素顔がボーナス映像として楽しめる。（林田直樹） レビュー アランフェス宮殿での「アランフェス」録音・撮影、しかも世界初の試みとなれば、まあ逆に、どうせそんな程度のもの、というのが通り相場。ところがこれがなかなか、反対の意味で期待を裏切られる。ロドリーゴの生誕100年にあわせた今回の企画に挑戦した村治佳織のギター演奏には、スペインを魂の故郷とするこの楽器の魅力、すでにあまりにインターナショナルな共通認識へと進化したその素敵さを一気に根元へと引き戻すだけの輝きがある。これはある種、エスニック・スタンダードとでもいえるものへの復権の兆しか。 (佐藤篁之) --- 2002年01月号 -- 内容 (「CDジャーナル・レビュー」より) 村治佳織(g)ホセ・ラモン・エンシナール指揮 マドリッド州立交響楽団 映像監督: ジョアン・リエドヴェグ -- 内容（「CDジャーナル」データベースより）Amazonより DVDの性能をフルに発揮させることを前提に、 日本のギター界の若き至宝、村治佳織が、スペインの大作曲家ロドリーゴの生誕100年を記念してアランフェス協奏曲他ソロ3曲をアランフェス宮殿で、またファリャ、トゥリーナらの作品をマドリッド近郊の町ペドラッサ、古城（マンサナレス城）などで映像収録した超話題盤。 3か月にもわたるスペイン・ロケ、最新鋭デジタル・シネマ・システムによる撮影、一般観光客には入れない礼拝堂も含め世界初のアランフェス宮殿での演奏映像、スペイン気鋭の映像ディレクター、ジョアン・リエドベックの起用による映画的制作、どれをとっても人気・実力ともにず抜けた村治だからこそ実現したぜいたくな企画。 遠い異国スペイン独特の微妙な光と影と空気感、大理石の回廊の音、そして演奏する村治の息づかい…。最新鋭ハイビジョン映像のディテールと5.1chサラウンド音響の効果を満喫できるという意味でも絶好の作品だ。そしてここから浮かび上がってくるのは、ビジュアルばかりではなく、ひたすら純粋に音楽に没入する村治の凛（りん）とした精神の美しさである。とりわけエンシナル指揮マドリッド州立交響楽団をバックに演奏したアランフェス協奏曲は、村治をはじめ全員が息をのむような集中力で、画面から眼が離せなくなる出色の出来。あらゆる音楽ファンを納得させる待望の映像ソフトの登場である。 なお初回限定盤のみDVD、VHSそれぞれ別々のメイキングシーンを収録、彼女の素顔がボーナス映像として楽しめる。（林田直樹） レビュー アランフェス宮殿での「アランフェス」録音・撮影、しかも世界初の試みとなれば、まあ逆に、どうせそんな程度のもの、というのが通り相場。ところがこれがなかなか、反対の意味で期待を裏切られる。ロドリーゴの生誕100年にあわせた今回の企画に挑戦した村治佳織のギター演奏には、スペインを魂の故郷とするこの楽器の魅力、すでにあまりにインターナショナルな共通認識へと進化したその素敵さを一気に根元へと引き戻すだけの輝きがある。これはある種、エスニック・スタンダードとでもいえるものへの復権の兆しか。 (佐藤篁之) --- 2002年01月号 -- 内容 (「CDジャーナル・レビュー」より) 村治佳織(g)ホセ・ラモン・エンシナール指揮 マドリッド州立交響楽団 映像監督: ジョアン・リエドヴェグ -- 内容（「CDジャーナル」データベースより）Amazonより DVDの性能をフルに発揮させることを前提に、 日本のギター界の若き至宝、村治佳織が、スペインの大作曲家ロドリーゴの生誕100年を記念してアランフェス協奏曲他ソロ3曲をアランフェス宮殿で、またファリャ、トゥリーナらの作品をマドリッド近郊の町ペドラッサ、古城（マンサナレス城）などで映像収録した超話題盤。 3か月にもわたるスペイン・ロケ、最新鋭デジタル・シネマ・システムによる撮影、一般観光客には入れない礼拝堂も含め世界初のアランフェス宮殿での演奏映像、スペイン気鋭の映像ディレクター、ジョアン・リエドベックの起用による映画的制作、どれをとっても人気・実力ともにず抜けた村治だからこそ実現したぜいたくな企画。 遠い異国スペイン独特の微妙な光と影と空気感、大理石の回廊の音、そして演奏する村治の息づかい…。最新鋭ハイビジョン映像のディテールと5.1chサラウンド音響の効果を満喫できるという意味でも絶好の作品だ。そしてここから浮かび上がってくるのは、ビジュアルばかりではなく、ひたすら純粋に音楽に没入する村治の凛（りん）とした精神の美しさである。とりわけエンシナル指揮マドリッド州立交響楽団をバックに演奏したアランフェス協奏曲は、村治をはじめ全員が息をのむような集中力で、画面から眼が離せなくなる出色の出来。あらゆる音楽ファンを納得させる待望の映像ソフトの登場である。 なお初回限定盤のみDVD、VHSそれぞれ別々のメイキングシーンを収録、彼女の素顔がボーナス映像として楽しめる。（林田直樹） レビュー アランフェス宮殿での「アランフェス」録音・撮影、しかも世界初の試みとなれば、まあ逆に、どうせそんな程度のもの、というのが通り相場。ところがこれがなかなか、反対の意味で期待を裏切られる。ロドリーゴの生誕100年にあわせた今回の企画に挑戦した村治佳織のギター演奏には、スペインを魂の故郷とするこの楽器の魅力、すでにあまりにインターナショナルな共通認識へと進化したその素敵さを一気に根元へと引き戻すだけの輝きがある。これはある種、エスニック・スタンダードとでもいえるものへの復権の兆しか。 (佐藤篁之) --- 2002年01月号 -- 内容 (「CDジャーナル・レビュー」より) 村治佳織(g)ホセ・ラモン・エンシナール指揮 マドリッド州立交響楽団 映像監督: ジョアン・リエドヴェグ -- 内容（「CDジャーナル」データベースより）中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】アート・オブ・ヴァイオリン [DVD]

【中古】アート・オブ・ヴァイオリン [DVD]【メーカー名】【メーカー型番】【ブランド名】【商品説明】アート・オブ・ヴァイオリン [DVD]レビュー 監督・脚本: ブリュノ・モンサンジョン 出演: ユーディ・メニューイン/ダヴィド・オイストラフ/アイザック・スターン/クリスティアン・フェラス/ナタン・ミルシテイン/アルテュール・グリュミオー/ヤッシャ・ハイフェッツ/ミッシャ・エルマン/ヨゼフ・シゲティ/ジノ・フランチェスカッティ/ルッジェーロ・リッチ/ボリス・ゴールドステイン/マイケル・レイビン/ヨーゼフ・ハシッド/ウジェーヌ・イザイ/ローラン・コルシア/ジョルジウ・エネスク/フリッツ・クライスラー/ジネット・ヌヴー/ジャック・ティボー/ヘンリク・シェリング/レオニード・コーガン/アレクサンドル・マルコフ/イヴリー・ギトリス/イダ・ヘンデル -- 内容（「CDジャーナル」データベースより） Amazonより 20世紀のもっとも偉大なヴァイオリニストを扱ったブリュノ・モンサンジョン監督のドキュメンタリー映画『アート・オブ・ヴァイオリン』は、あら捜しの余地がまったくない。ついでながら、類似の内容の『アート・オブ・ピアノ』や『アート・オブ・シンギング』についても同じことがいえるので、何人かのすばらしい歴史的な演奏家に関する個人的な視聴覚資料を集めるのには格好の時期である。労を惜しまずに集められたフィルム資料（ここでは少なくとも20人の著名なソリストが大きく取り上げられている）によってボリュームが増したが、それはもちろんヴァイオリンのテクニックを観察する際に格別の価値があるし、細部を愛するという点でここに示されたアプローチの多様性は、それ自体、果てしない比較対照の動機なのである。映画は演奏の資料的な映像-その大半は存在するとは夢にも思われなかったものだ-とインタビューおよびドキュメンタリー解説がない混ぜになっている。しかしながら、モンサンジョンはこの企画を博物館ものに変えることをしないで、パールマンや、賢明にもヒラリー・ハーンといった現代の人間の証言も収めている。といっても、この映画が現代の演奏家やこの分野の愛好家の誰にとっても大いに意義があることをけっして疑ったわけではないが。絶対必見である。(Roger Thomas、Amazon.co.uk)レビュー 監督・脚本: ブリュノ・モンサンジョン 出演: ユーディ・メニューイン/ダヴィド・オイストラフ/アイザック・スターン/クリスティアン・フェラス/ナタン・ミルシテイン/アルテュール・グリュミオー/ヤッシャ・ハイフェッツ/ミッシャ・エルマン/ヨゼフ・シゲティ/ジノ・フランチェスカッティ/ルッジェーロ・リッチ/ボリス・ゴールドステイン/マイケル・レイビン/ヨーゼフ・ハシッド/ウジェーヌ・イザイ/ローラン・コルシア/ジョルジウ・エネスク/フリッツ・クライスラー/ジネット・ヌヴー/ジャック・ティボー/ヘンリク・シェリング/レオニード・コーガン/アレクサンドル・マルコフ/イヴリー・ギトリス/イダ・ヘンデル -- 内容（「CDジャーナル」データベースより） Amazonより 20世紀のもっとも偉大なヴァイオリニストを扱ったブリュノ・モンサンジョン監督のドキュメンタリー映画『アート・オブ・ヴァイオリン』は、あら捜しの余地がまったくない。ついでながら、類似の内容の『アート・オブ・ピアノ』や『アート・オブ・シンギング』についても同じことがいえるので、何人かのすばらしい歴史的な演奏家に関する個人的な視聴覚資料を集めるのには格好の時期である。労を惜しまずに集められたフィルム資料（ここでは少なくとも20人の著名なソリストが大きく取り上げられている）によってボリュームが増したが、それはもちろんヴァイオリンのテクニックを観察する際に格別の価値があるし、細部を愛するという点でここに示されたアプローチの多様性は、それ自体、果てしない比較対照の動機なのである。映画は演奏の資料的な映像-その大半は存在するとは夢にも思われなかったものだ-とインタビューおよびドキュメンタリー解説がない混ぜになっている。しかしながら、モンサンジョンはこの企画を博物館ものに変えることをしないで、パールマンや、賢明にもヒラリー・ハーンといった現代の人間の証言も収めている。といっても、この映画が現代の演奏家やこの分野の愛好家の誰にとっても大いに意義があることをけっして疑ったわけではないが。絶対必見である。(Roger Thomas、Amazon.co.uk)レビュー 監督・脚本: ブリュノ・モンサンジョン 出演: ユーディ・メニューイン/ダヴィド・オイストラフ/アイザック・スターン/クリスティアン・フェラス/ナタン・ミルシテイン/アルテュール・グリュミオー/ヤッシャ・ハイフェッツ/ミッシャ・エルマン/ヨゼフ・シゲティ/ジノ・フランチェスカッティ/ルッジェーロ・リッチ/ボリス・ゴールドステイン/マイケル・レイビン/ヨーゼフ・ハシッド/ウジェーヌ・イザイ/ローラン・コルシア/ジョルジウ・エネスク/フリッツ・クライスラー/ジネット・ヌヴー/ジャック・ティボー/ヘンリク・シェリング/レオニード・コーガン/アレクサンドル・マルコフ/イヴリー・ギトリス/イダ・ヘンデル -- 内容（「CDジャーナル」データベースより） Amazonより 20世紀のもっとも偉大なヴァイオリニストを扱ったブリュノ・モンサンジョン監督のドキュメンタリー映画『アート・オブ・ヴァイオリン』は、あら捜しの余地がまったくない。ついでながら、類似の内容の『アート・オブ・ピアノ』や『アート・オブ・シンギング』についても同じことがいえるので、何人かのすばらしい歴史的な演奏家に関する個人的な視聴覚資料を集めるのには格好の時期である。労を惜しまずに集められたフィルム資料（ここでは少なくとも20人の著名なソリストが大きく取り上げられている）によってボリュームが増したが、それはもちろんヴァイオリンのテクニックを観察する際に格別の価値があるし、細部を愛するという点でここに示されたアプローチの多様性は、それ自体、果てしない比較対照の動機なのである。映画は演奏の資料的な映像-その大半は存在するとは夢にも思われなかったものだ-とインタビューおよびドキュメンタリー解説がない混ぜになっている。しかしながら、モンサンジョンはこの企画を博物館ものに変えることをしないで、パールマンや、賢明にもヒラリー・ハーンといった現代の人間の証言も収めている。といっても、この映画が現代の演奏家やこの分野の愛好家の誰にとっても大いに意義があることをけっして疑ったわけではないが。絶対必見である。(Roger Thomas、Amazon.co.uk)レビュー 監督・脚本: ブリュノ・モンサンジョン 出演: ユーディ・メニューイン/ダヴィド・オイストラフ/アイザック・スターン/クリスティアン・フェラス/ナタン・ミルシテイン/アルテュール・グリュミオー/ヤッシャ・ハイフェッツ/ミッシャ・エルマン/ヨゼフ・シゲティ/ジノ・フランチェスカッティ/ルッジェーロ・リッチ/ボリス・ゴールドステイン/マイケル・レイビン/ヨーゼフ・ハシッド/ウジェーヌ・イザイ/ローラン・コルシア/ジョルジウ・エネスク/フリッツ・クライスラー/ジネット・ヌヴー/ジャック・ティボー/ヘンリク・シェリング/レオニード・コーガン/アレクサンドル・マルコフ/イヴリー・ギトリス/イダ・ヘンデル -- 内容（「CDジャーナル」データベースより） Amazonより 20世紀のもっとも偉大なヴァイオリニストを扱ったブリュノ・モンサンジョン監督のドキュメンタリー映画『アート・オブ・ヴァイオリン』は、あら捜しの余地がまったくない。ついでながら、類似の内容の『アート・オブ・ピアノ』や『アート・オブ・シンギング』についても同じことがいえるので、何人かのすばらしい歴史的な演奏家に関する個人的な視聴覚資料を集めるのには格好の時期である。労を惜しまずに集められたフィルム資料（ここでは少なくとも20人の著名なソリストが大きく取り上げられている）によってボリュームが増したが、それはもちろんヴァイオリンのテクニックを観察する際に格別の価値があるし、細部を愛するという点でここに示されたアプローチの多様性は、それ自体、果てしない比較対照の動機なのである。映画は演奏の資料的な映像-その大半は存在するとは夢にも思われなかったものだ-とインタビューおよびドキュメンタリー解説がない混ぜになっている。しかしながら、モンサンジョンはこの企画を博物館ものに変えることをしないで、パールマンや、賢明にもヒラリー・ハーンといった現代の人間の証言も収めている。といっても、この映画が現代の演奏家やこの分野の愛好家の誰にとっても大いに意義があることをけっして疑ったわけではないが。絶対必見である。(Roger Thomas、Amazon.co.uk)中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Berg Debussy Stravinsky [DVD]

【中古】Berg Debussy Stravinsky [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment 交響曲・管弦楽曲 Berg: Artist; Debussy: Artist; Stravinsky: Artist; Berg: Cast Member【商品説明】Berg Debussy Stravinsky [DVD]Amazonより In this 2000 concert, conductor Pierre Boulez and the Chicago Symphony tackle three 20th-century works that are the specialty of the orchestra's former music director. The suite from Alban Berg's unfinished opera, Lulu, is revealed as substantive and compelling. Soprano Christine Schaefer exquisitely sings Lulu's short vocal interludes, and is also featured in Claude Debussy's sublime vocal settings Le Jet d'eau et Trois Ballades de Villon. Finally, Boulez's forces give Stravinsky's first full-length ballet, The Firebird, an electrifying run-through. As a bonus, there's a fascinating talk between Boulez and his successor in Chicago, Daniel Barenboim. For an informative 20 minutes, the maestros discuss their approaches to music, even touching on how to deal with Richard Wagner in the 21st century. --Kevin FilipskiAmazonより In this 2000 concert, conductor Pierre Boulez and the Chicago Symphony tackle three 20th-century works that are the specialty of the orchestra's former music director. The suite from Alban Berg's unfinished opera, Lulu, is revealed as substantive and compelling. Soprano Christine Schaefer exquisitely sings Lulu's short vocal interludes, and is also featured in Claude Debussy's sublime vocal settings Le Jet d'eau et Trois Ballades de Villon. Finally, Boulez's forces give Stravinsky's first full-length ballet, The Firebird, an electrifying run-through. As a bonus, there's a fascinating talk between Boulez and his successor in Chicago, Daniel Barenboim. For an informative 20 minutes, the maestros discuss their approaches to music, even touching on how to deal with Richard Wagner in the 21st century. --Kevin FilipskiAmazonより In this 2000 concert, conductor Pierre Boulez and the Chicago Symphony tackle three 20th-century works that are the specialty of the orchestra's former music director. The suite from Alban Berg's unfinished opera, Lulu, is revealed as substantive and compelling. Soprano Christine Schaefer exquisitely sings Lulu's short vocal interludes, and is also featured in Claude Debussy's sublime vocal settings Le Jet d'eau et Trois Ballades de Villon. Finally, Boulez's forces give Stravinsky's first full-length ballet, The Firebird, an electrifying run-through. As a bonus, there's a fascinating talk between Boulez and his successor in Chicago, Daniel Barenboim. For an informative 20 minutes, the maestros discuss their approaches to music, even touching on how to deal with Richard Wagner in the 21st century. --Kevin FilipskiAmazonより In this 2000 concert, conductor Pierre Boulez and the Chicago Symphony tackle three 20th-century works that are the specialty of the orchestra's former music director. The suite from Alban Berg's unfinished opera, Lulu, is revealed as substantive and compelling. Soprano Christine Schaefer exquisitely sings Lulu's short vocal interludes, and is also featured in Claude Debussy's sublime vocal settings Le Jet d'eau et Trois Ballades de Villon. Finally, Boulez's forces give Stravinsky's first full-length ballet, The Firebird, an electrifying run-through. As a bonus, there's a fascinating talk between Boulez and his successor in Chicago, Daniel Barenboim. For an informative 20 minutes, the maestros discuss their approaches to music, even touching on how to deal with Richard Wagner in the 21st century. --Kevin FilipskiAmazonより In this 2000 concert, conductor Pierre Boulez and the Chicago Symphony tackle three 20th-century works that are the specialty of the orchestra's former music director. The suite from Alban Berg's unfinished opera, Lulu, is revealed as substantive and compelling. Soprano Christine Schaefer exquisitely sings Lulu's short vocal interludes, and is also featured in Claude Debussy's sublime vocal settings Le Jet d'eau et Trois Ballades de Villon. Finally, Boulez's forces give Stravinsky's first full-length ballet, The Firebird, an electrifying run-through. As a bonus, there's a fascinating talk between Boulez and his successor in Chicago, Daniel Barenboim. For an informative 20 minutes, the maestros discuss their approaches to music, even touching on how to deal with Richard Wagner in the 21st century. --Kevin Filipski中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Lo Frate 'nnamorato [DVD] [Import]

【中古】Lo Frate 'nnamorato [DVD] [Import]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment オペラ・声楽 Pergolesi: Artist; Corbelli: Artist; Focile: Artist; Felle: Artist; Muti: Artist【商品説明】Lo Frate 'nnamorato [DVD] [Import]Amazonより If his life had not been so tragically short, Giovanni Battista Pergolesi (1710-1736) might have become a friend of Mozart. Musically, he is a predecessor. He used the idioms of baroque comic opera (which were much more flexible than the rigid forms of opera seria) to convey emotional depths as well as hilarity. Sometimes he anticipates Mozart's style a half-century later. Most of the time, Lo Frate 'Nnamorato (using a Neapolitan dialect that makes the subtitles doubly welcome) is a delightfully melodious romp through standard opera buffa situations: servants are smarter than their masters, old men scheme to marry young women who find ingenious ways to resist patriarchal pressure, young lovers have silly quarrels. The music is splendid and beautifully performed. There is much virtuoso singing and Ricardo Muti stylishly conducts a small orchestra of period instruments. The visual elements--sets, costumes, and acting--are all excellent. Baroque comic opera has been underrepresented in video recordings, but this outstanding production does a lot to make amends. --Joe McLellanAmazonより If his life had not been so tragically short, Giovanni Battista Pergolesi (1710-1736) might have become a friend of Mozart. Musically, he is a predecessor. He used the idioms of baroque comic opera (which were much more flexible than the rigid forms of opera seria) to convey emotional depths as well as hilarity. Sometimes he anticipates Mozart's style a half-century later. Most of the time, Lo Frate 'Nnamorato (using a Neapolitan dialect that makes the subtitles doubly welcome) is a delightfully melodious romp through standard opera buffa situations: servants are smarter than their masters, old men scheme to marry young women who find ingenious ways to resist patriarchal pressure, young lovers have silly quarrels. The music is splendid and beautifully performed. There is much virtuoso singing and Ricardo Muti stylishly conducts a small orchestra of period instruments. The visual elements--sets, costumes, and acting--are all excellent. Baroque comic opera has been underrepresented in video recordings, but this outstanding production does a lot to make amends. --Joe McLellanAmazonより If his life had not been so tragically short, Giovanni Battista Pergolesi (1710-1736) might have become a friend of Mozart. Musically, he is a predecessor. He used the idioms of baroque comic opera (which were much more flexible than the rigid forms of opera seria) to convey emotional depths as well as hilarity. Sometimes he anticipates Mozart's style a half-century later. Most of the time, Lo Frate 'Nnamorato (using a Neapolitan dialect that makes the subtitles doubly welcome) is a delightfully melodious romp through standard opera buffa situations: servants are smarter than their masters, old men scheme to marry young women who find ingenious ways to resist patriarchal pressure, young lovers have silly quarrels. The music is splendid and beautifully performed. There is much virtuoso singing and Ricardo Muti stylishly conducts a small orchestra of period instruments. The visual elements--sets, costumes, and acting--are all excellent. Baroque comic opera has been underrepresented in video recordings, but this outstanding production does a lot to make amends. --Joe McLellanAmazonより If his life had not been so tragically short, Giovanni Battista Pergolesi (1710-1736) might have become a friend of Mozart. Musically, he is a predecessor. He used the idioms of baroque comic opera (which were much more flexible than the rigid forms of opera seria) to convey emotional depths as well as hilarity. Sometimes he anticipates Mozart's style a half-century later. Most of the time, Lo Frate 'Nnamorato (using a Neapolitan dialect that makes the subtitles doubly welcome) is a delightfully melodious romp through standard opera buffa situations: servants are smarter than their masters, old men scheme to marry young women who find ingenious ways to resist patriarchal pressure, young lovers have silly quarrels. The music is splendid and beautifully performed. There is much virtuoso singing and Ricardo Muti stylishly conducts a small orchestra of period instruments. The visual elements--sets, costumes, and acting--are all excellent. Baroque comic opera has been underrepresented in video recordings, but this outstanding production does a lot to make amends. --Joe McLellanAmazonより If his life had not been so tragically short, Giovanni Battista Pergolesi (1710-1736) might have become a friend of Mozart. Musically, he is a predecessor. He used the idioms of baroque comic opera (which were much more flexible than the rigid forms of opera seria) to convey emotional depths as well as hilarity. Sometimes he anticipates Mozart's style a half-century later. Most of the time, Lo Frate 'Nnamorato (using a Neapolitan dialect that makes the subtitles doubly welcome) is a delightfully melodious romp through standard opera buffa situations: servants are smarter than their masters, old men scheme to marry young women who find ingenious ways to resist patriarchal pressure, young lovers have silly quarrels. The music is splendid and beautifully performed. There is much virtuoso singing and Ricardo Muti stylishly conducts a small orchestra of period instruments. The visual elements--sets, costumes, and acting--are all excellent. Baroque comic opera has been underrepresented in video recordings, but this outstanding production does a lot to make amends. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Revival of the Dead [DVD]

【中古】Revival of the Dead [DVD]【メーカー名】【メーカー型番】【ブランド名】Winstar 交響曲・管弦楽曲 Sheriff: Artist; Mehta: Artist; Ipo: Artist【商品説明】Revival of the Dead [DVD]Amazonレビュー Commissioned and performed for the 50th anniversary of the foundation of the State of Israel, this video of Noam Sheriff's Mechaye Hametim (Revival of the Dead) epitomizes Jewish life and aspirations in a powerful blend of carefully coordinated sounds and images. In successive movements the music evokes life in the Diaspora, then the horrors of the Holocaust; it prays for Holocaust victims and celebrates the foundation of Israel. Its primary audience will be Jewish, but some of the Hebrew texts may sound familiar to admirers of Handel's Messiah. Sheriff's score is eclectic, using motifs that recall cantorial styles (with tenor and baritone cantors), folk music, and the classic oratorio techniques of mainstream Western culture. Video images are powerfully matched to the music--symbols, landscapes, ancient buildings, flowers, children at play, marching soldiers, book-burning, freight trains, and concentration camps. --Joe McLellanAmazonレビュー Commissioned and performed for the 50th anniversary of the foundation of the State of Israel, this video of Noam Sheriff's Mechaye Hametim (Revival of the Dead) epitomizes Jewish life and aspirations in a powerful blend of carefully coordinated sounds and images. In successive movements the music evokes life in the Diaspora, then the horrors of the Holocaust; it prays for Holocaust victims and celebrates the foundation of Israel. Its primary audience will be Jewish, but some of the Hebrew texts may sound familiar to admirers of Handel's Messiah. Sheriff's score is eclectic, using motifs that recall cantorial styles (with tenor and baritone cantors), folk music, and the classic oratorio techniques of mainstream Western culture. Video images are powerfully matched to the music--symbols, landscapes, ancient buildings, flowers, children at play, marching soldiers, book-burning, freight trains, and concentration camps. --Joe McLellanAmazonレビュー Commissioned and performed for the 50th anniversary of the foundation of the State of Israel, this video of Noam Sheriff's Mechaye Hametim (Revival of the Dead) epitomizes Jewish life and aspirations in a powerful blend of carefully coordinated sounds and images. In successive movements the music evokes life in the Diaspora, then the horrors of the Holocaust; it prays for Holocaust victims and celebrates the foundation of Israel. Its primary audience will be Jewish, but some of the Hebrew texts may sound familiar to admirers of Handel's Messiah. Sheriff's score is eclectic, using motifs that recall cantorial styles (with tenor and baritone cantors), folk music, and the classic oratorio techniques of mainstream Western culture. Video images are powerfully matched to the music--symbols, landscapes, ancient buildings, flowers, children at play, marching soldiers, book-burning, freight trains, and concentration camps. --Joe McLellanAmazonレビュー Commissioned and performed for the 50th anniversary of the foundation of the State of Israel, this video of Noam Sheriff's Mechaye Hametim (Revival of the Dead) epitomizes Jewish life and aspirations in a powerful blend of carefully coordinated sounds and images. In successive movements the music evokes life in the Diaspora, then the horrors of the Holocaust; it prays for Holocaust victims and celebrates the foundation of Israel. Its primary audience will be Jewish, but some of the Hebrew texts may sound familiar to admirers of Handel's Messiah. Sheriff's score is eclectic, using motifs that recall cantorial styles (with tenor and baritone cantors), folk music, and the classic oratorio techniques of mainstream Western culture. Video images are powerfully matched to the music--symbols, landscapes, ancient buildings, flowers, children at play, marching soldiers, book-burning, freight trains, and concentration camps. --Joe McLellanAmazonレビュー Commissioned and performed for the 50th anniversary of the foundation of the State of Israel, this video of Noam Sheriff's Mechaye Hametim (Revival of the Dead) epitomizes Jewish life and aspirations in a powerful blend of carefully coordinated sounds and images. In successive movements the music evokes life in the Diaspora, then the horrors of the Holocaust; it prays for Holocaust victims and celebrates the foundation of Israel. Its primary audience will be Jewish, but some of the Hebrew texts may sound familiar to admirers of Handel's Messiah. Sheriff's score is eclectic, using motifs that recall cantorial styles (with tenor and baritone cantors), folk music, and the classic oratorio techniques of mainstream Western culture. Video images are powerfully matched to the music--symbols, landscapes, ancient buildings, flowers, children at play, marching soldiers, book-burning, freight trains, and concentration camps. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Mass in C Major [DVD]

【中古】Mass in C Major [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment オペラ・声楽 Mozart: Artist; Pergolese: Artist; Le Mounier: Artist【商品説明】Mass in C Major [DVD]Amazonより This disc is part of a series produced by Georges Bessonnet in which the regional orchestras of France are presented. These orchestras range from the very, very good (Picardy Sinfonietta) to the pretty good (Montpellier Philharmonic) to the group featured on this disc--the Versailles Soloists. This group needs some work. The violins tend to play just enough out of tune that you begin to feel little muscles (especially the one at the far end of your digestive tract) tightening up as you listen. They are joined by a chorus with some pitch problems of their own. If this sort of thing doesn't bother you, there are some good qualities to the disc. First of all, the music itself is excellent. Itケs especially nice to have an available performance of the Pergolesi Stabat Mater. The lower strings and the winds sound pretty good, and the ensemble is mostly OK. The video is a pristine transfer of a HDTV production so it looks great. --Seth KrimskyAmazonより This disc is part of a series produced by Georges Bessonnet in which the regional orchestras of France are presented. These orchestras range from the very, very good (Picardy Sinfonietta) to the pretty good (Montpellier Philharmonic) to the group featured on this disc--the Versailles Soloists. This group needs some work. The violins tend to play just enough out of tune that you begin to feel little muscles (especially the one at the far end of your digestive tract) tightening up as you listen. They are joined by a chorus with some pitch problems of their own. If this sort of thing doesn't bother you, there are some good qualities to the disc. First of all, the music itself is excellent. Itケs especially nice to have an available performance of the Pergolesi Stabat Mater. The lower strings and the winds sound pretty good, and the ensemble is mostly OK. The video is a pristine transfer of a HDTV production so it looks great. --Seth KrimskyAmazonより This disc is part of a series produced by Georges Bessonnet in which the regional orchestras of France are presented. These orchestras range from the very, very good (Picardy Sinfonietta) to the pretty good (Montpellier Philharmonic) to the group featured on this disc--the Versailles Soloists. This group needs some work. The violins tend to play just enough out of tune that you begin to feel little muscles (especially the one at the far end of your digestive tract) tightening up as you listen. They are joined by a chorus with some pitch problems of their own. If this sort of thing doesn't bother you, there are some good qualities to the disc. First of all, the music itself is excellent. Itケs especially nice to have an available performance of the Pergolesi Stabat Mater. The lower strings and the winds sound pretty good, and the ensemble is mostly OK. The video is a pristine transfer of a HDTV production so it looks great. --Seth KrimskyAmazonより This disc is part of a series produced by Georges Bessonnet in which the regional orchestras of France are presented. These orchestras range from the very, very good (Picardy Sinfonietta) to the pretty good (Montpellier Philharmonic) to the group featured on this disc--the Versailles Soloists. This group needs some work. The violins tend to play just enough out of tune that you begin to feel little muscles (especially the one at the far end of your digestive tract) tightening up as you listen. They are joined by a chorus with some pitch problems of their own. If this sort of thing doesn't bother you, there are some good qualities to the disc. First of all, the music itself is excellent. Itケs especially nice to have an available performance of the Pergolesi Stabat Mater. The lower strings and the winds sound pretty good, and the ensemble is mostly OK. The video is a pristine transfer of a HDTV production so it looks great. --Seth KrimskyAmazonより This disc is part of a series produced by Georges Bessonnet in which the regional orchestras of France are presented. These orchestras range from the very, very good (Picardy Sinfonietta) to the pretty good (Montpellier Philharmonic) to the group featured on this disc--the Versailles Soloists. This group needs some work. The violins tend to play just enough out of tune that you begin to feel little muscles (especially the one at the far end of your digestive tract) tightening up as you listen. They are joined by a chorus with some pitch problems of their own. If this sort of thing doesn't bother you, there are some good qualities to the disc. First of all, the music itself is excellent. Itケs especially nice to have an available performance of the Pergolesi Stabat Mater. The lower strings and the winds sound pretty good, and the ensemble is mostly OK. The video is a pristine transfer of a HDTV production so it looks great. --Seth Krimsky中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Die Fldermaus [DVD] [Import]

【中古】Die Fldermaus [DVD] [Import]【メーカー名】【メーカー型番】【ブランド名】【商品説明】Die Fldermaus [DVD] [Import]Amazonレビュー Die Fledermaus has some of the greatest comic melodies ever presented on an operatic stage--a festival of light-hearted tunes bound together by a plot and a cast of characters that make a virtue of absurdity. This 1988 production, which is acted as charmingly as it is sung, brings out the show's wit, energy, vitality, and, above all, style--a special gemutlichkeit usually associated with Vienna but also cultivated, on this occasion, in Munich. Nobody in this production's superbly chosen cast has the kind of name recognition enjoyed by the stars of the competing DVD from Covent Garden: Joan Sutherland, Marilyn Horne, and Luciano Pavarotti. But they are all first- class musicians and/or comic actors, adept in the special requirements of Viennese operetta and integrated into a deftly crafted ensemble production, with expert conducting by Carlos Kleiber and finely detailed stage direction by Otto Schenk. At Covent Garden, in Joan Sutherland's farewell appearance, Pavarotti et al. were simply inserted into the Act II party scene as "guests"--musically splendid but irrelevant to the story. In contrast, the Bavarian State Opera production presents Die Fledermaus substantially as Johann Strauss II originally imagined it--something the Covent Garden production, performed in English, did not manage (or, really, attempt) to do. The men in the cast provide a lot of the comedy, but the most spectacular music is given to the women: Pamela Coburn as a housewife who masquerades as a Hungarian countess, Janet Perry as a chambermaid who wants to break into show biz, Brigitte Fassbaender in the colorful trouser role of Prince Orlofsky. These performances are carefully poised on the brink of outrageousness but never go too far. Deutsche Grammophon supplies an informative, illustrated booklet with this disc--a rarity in DVD productions and much appreciated. --Joe McLellanAmazonレビュー Die Fledermaus has some of the greatest comic melodies ever presented on an operatic stage--a festival of light-hearted tunes bound together by a plot and a cast of characters that make a virtue of absurdity. This 1988 production, which is acted as charmingly as it is sung, brings out the show's wit, energy, vitality, and, above all, style--a special gemutlichkeit usually associated with Vienna but also cultivated, on this occasion, in Munich. Nobody in this production's superbly chosen cast has the kind of name recognition enjoyed by the stars of the competing DVD from Covent Garden: Joan Sutherland, Marilyn Horne, and Luciano Pavarotti. But they are all first- class musicians and/or comic actors, adept in the special requirements of Viennese operetta and integrated into a deftly crafted ensemble production, with expert conducting by Carlos Kleiber and finely detailed stage direction by Otto Schenk. At Covent Garden, in Joan Sutherland's farewell appearance, Pavarotti et al. were simply inserted into the Act II party scene as "guests"--musically splendid but irrelevant to the story. In contrast, the Bavarian State Opera production presents Die Fledermaus substantially as Johann Strauss II originally imagined it--something the Covent Garden production, performed in English, did not manage (or, really, attempt) to do. The men in the cast provide a lot of the comedy, but the most spectacular music is given to the women: Pamela Coburn as a housewife who masquerades as a Hungarian countess, Janet Perry as a chambermaid who wants to break into show biz, Brigitte Fassbaender in the colorful trouser role of Prince Orlofsky. These performances are carefully poised on the brink of outrageousness but never go too far. Deutsche Grammophon supplies an informative, illustrated booklet with this disc--a rarity in DVD productions and much appreciated. --Joe McLellanAmazonレビュー Die Fledermaus has some of the greatest comic melodies ever presented on an operatic stage--a festival of light-hearted tunes bound together by a plot and a cast of characters that make a virtue of absurdity. This 1988 production, which is acted as charmingly as it is sung, brings out the show's wit, energy, vitality, and, above all, style--a special gemutlichkeit usually associated with Vienna but also cultivated, on this occasion, in Munich. Nobody in this production's superbly chosen cast has the kind of name recognition enjoyed by the stars of the competing DVD from Covent Garden: Joan Sutherland, Marilyn Horne, and Luciano Pavarotti. But they are all first- class musicians and/or comic actors, adept in the special requirements of Viennese operetta and integrated into a deftly crafted ensemble production, with expert conducting by Carlos Kleiber and finely detailed stage direction by Otto Schenk. At Covent Garden, in Joan Sutherland's farewell appearance, Pavarotti et al. were simply inserted into the Act II party scene as "guests"--musically splendid but irrelevant to the story. In contrast, the Bavarian State Opera production presents Die Fledermaus substantially as Johann Strauss II originally imagined it--something the Covent Garden production, performed in English, did not manage (or, really, attempt) to do. The men in the cast provide a lot of the comedy, but the most spectacular music is given to the women: Pamela Coburn as a housewife who masquerades as a Hungarian countess, Janet Perry as a chambermaid who wants to break into show biz, Brigitte Fassbaender in the colorful trouser role of Prince Orlofsky. These performances are carefully poised on the brink of outrageousness but never go too far. Deutsche Grammophon supplies an informative, illustrated booklet with this disc--a rarity in DVD productions and much appreciated. --Joe McLellanAmazonレビュー Die Fledermaus has some of the greatest comic melodies ever presented on an operatic stage--a festival of light-hearted tunes bound together by a plot and a cast of characters that make a virtue of absurdity. This 1988 production, which is acted as charmingly as it is sung, brings out the show's wit, energy, vitality, and, above all, style--a special gemutlichkeit usually associated with Vienna but also cultivated, on this occasion, in Munich. Nobody in this production's superbly chosen cast has the kind of name recognition enjoyed by the stars of the competing DVD from Covent Garden: Joan Sutherland, Marilyn Horne, and Luciano Pavarotti. But they are all first- class musicians and/or comic actors, adept in the special requirements of Viennese operetta and integrated into a deftly crafted ensemble production, with expert conducting by Carlos Kleiber and finely detailed stage direction by Otto Schenk. At Covent Garden, in Joan Sutherland's farewell appearance, Pavarotti et al. were simply inserted into the Act II party scene as "guests"--musically splendid but irrelevant to the story. In contrast, the Bavarian State Opera production presents Die Fledermaus substantially as Johann Strauss II originally imagined it--something the Covent Garden production, performed in English, did not manage (or, really, attempt) to do. The men in the cast provide a lot of the comedy, but the most spectacular music is given to the women: Pamela Coburn as a housewife who masquerades as a Hungarian countess, Janet Perry as a chambermaid who wants to break into show biz, Brigitte Fassbaender in the colorful trouser role of Prince Orlofsky. These performances are carefully poised on the brink of outrageousness but never go too far. Deutsche Grammophon supplies an informative, illustrated booklet with this disc--a rarity in DVD productions and much appreciated. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Manon Lescaut [DVD]

【中古】Manon Lescaut [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment オペラ・声楽 Puccini: Artist; Varviso: Artist; Gauci: Artist; Danckaert: Artist; Puccini: Cast Member【商品説明】Manon Lescaut [DVD]Amazonより Puccini's beloved heroine has had many starry interpreters, but in this 1991 Flemish Opera performance, soprano Miriam Gauci gives a head-turning portrayal. Her acting and singing coalesce into that rarest of occurrences, especially in opera: a believable characterization summoning sympathy from the viewer for Manon's tragic demise and pleasure at witnessing the tremendous range of Gauci's talent. The soprano's outsized stage presence overshadows the entirely capable Des Grieux (Manon's lover) of Antonio Ordonez. Robert Carsen's production is much too busy, and some questionable stage antics seem better suited to Gilbert & Sullivan than Manon Lescaut. But the Symphony Orchestra and Choir of the Flemish Opera (with Silvio Varviso conducting) acquit themselves well in one of opera's most familiar warhorses. If you're new to opera, other productions better convey the essence of Puccini's classic tragedy. But if you're looking for a different kind of Manon Lescaut, then Gauci's fresh, winning take on her is definitely worth checking out. --Kevin FilipskiAmazonより Puccini's beloved heroine has had many starry interpreters, but in this 1991 Flemish Opera performance, soprano Miriam Gauci gives a head-turning portrayal. Her acting and singing coalesce into that rarest of occurrences, especially in opera: a believable characterization summoning sympathy from the viewer for Manon's tragic demise and pleasure at witnessing the tremendous range of Gauci's talent. The soprano's outsized stage presence overshadows the entirely capable Des Grieux (Manon's lover) of Antonio Ordonez. Robert Carsen's production is much too busy, and some questionable stage antics seem better suited to Gilbert & Sullivan than Manon Lescaut. But the Symphony Orchestra and Choir of the Flemish Opera (with Silvio Varviso conducting) acquit themselves well in one of opera's most familiar warhorses. If you're new to opera, other productions better convey the essence of Puccini's classic tragedy. But if you're looking for a different kind of Manon Lescaut, then Gauci's fresh, winning take on her is definitely worth checking out. --Kevin FilipskiAmazonより Puccini's beloved heroine has had many starry interpreters, but in this 1991 Flemish Opera performance, soprano Miriam Gauci gives a head-turning portrayal. Her acting and singing coalesce into that rarest of occurrences, especially in opera: a believable characterization summoning sympathy from the viewer for Manon's tragic demise and pleasure at witnessing the tremendous range of Gauci's talent. The soprano's outsized stage presence overshadows the entirely capable Des Grieux (Manon's lover) of Antonio Ordonez. Robert Carsen's production is much too busy, and some questionable stage antics seem better suited to Gilbert & Sullivan than Manon Lescaut. But the Symphony Orchestra and Choir of the Flemish Opera (with Silvio Varviso conducting) acquit themselves well in one of opera's most familiar warhorses. If you're new to opera, other productions better convey the essence of Puccini's classic tragedy. But if you're looking for a different kind of Manon Lescaut, then Gauci's fresh, winning take on her is definitely worth checking out. --Kevin FilipskiAmazonより Puccini's beloved heroine has had many starry interpreters, but in this 1991 Flemish Opera performance, soprano Miriam Gauci gives a head-turning portrayal. Her acting and singing coalesce into that rarest of occurrences, especially in opera: a believable characterization summoning sympathy from the viewer for Manon's tragic demise and pleasure at witnessing the tremendous range of Gauci's talent. The soprano's outsized stage presence overshadows the entirely capable Des Grieux (Manon's lover) of Antonio Ordonez. Robert Carsen's production is much too busy, and some questionable stage antics seem better suited to Gilbert & Sullivan than Manon Lescaut. But the Symphony Orchestra and Choir of the Flemish Opera (with Silvio Varviso conducting) acquit themselves well in one of opera's most familiar warhorses. If you're new to opera, other productions better convey the essence of Puccini's classic tragedy. But if you're looking for a different kind of Manon Lescaut, then Gauci's fresh, winning take on her is definitely worth checking out. --Kevin FilipskiAmazonより Puccini's beloved heroine has had many starry interpreters, but in this 1991 Flemish Opera performance, soprano Miriam Gauci gives a head-turning portrayal. Her acting and singing coalesce into that rarest of occurrences, especially in opera: a believable characterization summoning sympathy from the viewer for Manon's tragic demise and pleasure at witnessing the tremendous range of Gauci's talent. The soprano's outsized stage presence overshadows the entirely capable Des Grieux (Manon's lover) of Antonio Ordonez. Robert Carsen's production is much too busy, and some questionable stage antics seem better suited to Gilbert & Sullivan than Manon Lescaut. But the Symphony Orchestra and Choir of the Flemish Opera (with Silvio Varviso conducting) acquit themselves well in one of opera's most familiar warhorses. If you're new to opera, other productions better convey the essence of Puccini's classic tragedy. But if you're looking for a different kind of Manon Lescaut, then Gauci's fresh, winning take on her is definitely worth checking out. --Kevin Filipski中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Valery Gergieve Conducts the Vienna Philharmonic [DVD]

【中古】Valery Gergieve Conducts the Vienna Philharmonic [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment 交響曲・管弦楽曲 Prokofiev: Artist; Gergiev: Artist; Vienna Philharmonic Orchest: Artist【商品説明】Valery Gergieve Conducts the Vienna Philharmonic [DVD]Amazonより All classical-music buffs should find much to appreciate in this captivating record of Valery Gergiev conducting the Viennese Philharmonic Orchestra in an all-Russian night of music at the 2000 Salzburg Festival. The production quality of the disc overall is first rate: from the moment the conductor greets his expectant audience until the last note is sounded, the symphony and its conductor are portrayed, visually, aurally, and stylistically at a standard of quality rarely seen. To begin Gergiev leads the VPO through a precise if somewhat lackluster performance of Prokofiev's Classical Symphony, which serves here as a stretching session compared to the substantially heavier fare to follow. Universally acclaimed violist Yuri Bashmet leads an intrepid and inspired treatment of Schnittke's Viola Concerto, which the composer penned especially for him. The centerpiece of the concert, though, is undoubtedly Stravinsky's Firebird, in which the orchestra and conductor are at the height of their powers, filling each moment with an intensity and excitement that reverberates through to its finish. The viewer owns the best seat in the house simply by virtue of strategic camera work and visual direction that captures individual members of the orchestra at key moments, finding the oboists before their featured melody, then panning to a cellist before he saws away a descending phrase. Included as special features are insightful interviews with Giergiev and Bashmet, which provide additional background into the inspirations behind the concert. --Karl WachterAmazonより All classical-music buffs should find much to appreciate in this captivating record of Valery Gergiev conducting the Viennese Philharmonic Orchestra in an all-Russian night of music at the 2000 Salzburg Festival. The production quality of the disc overall is first rate: from the moment the conductor greets his expectant audience until the last note is sounded, the symphony and its conductor are portrayed, visually, aurally, and stylistically at a standard of quality rarely seen. To begin Gergiev leads the VPO through a precise if somewhat lackluster performance of Prokofiev's Classical Symphony, which serves here as a stretching session compared to the substantially heavier fare to follow. Universally acclaimed violist Yuri Bashmet leads an intrepid and inspired treatment of Schnittke's Viola Concerto, which the composer penned especially for him. The centerpiece of the concert, though, is undoubtedly Stravinsky's Firebird, in which the orchestra and conductor are at the height of their powers, filling each moment with an intensity and excitement that reverberates through to its finish. The viewer owns the best seat in the house simply by virtue of strategic camera work and visual direction that captures individual members of the orchestra at key moments, finding the oboists before their featured melody, then panning to a cellist before he saws away a descending phrase. Included as special features are insightful interviews with Giergiev and Bashmet, which provide additional background into the inspirations behind the concert. --Karl WachterAmazonより All classical-music buffs should find much to appreciate in this captivating record of Valery Gergiev conducting the Viennese Philharmonic Orchestra in an all-Russian night of music at the 2000 Salzburg Festival. The production quality of the disc overall is first rate: from the moment the conductor greets his expectant audience until the last note is sounded, the symphony and its conductor are portrayed, visually, aurally, and stylistically at a standard of quality rarely seen. To begin Gergiev leads the VPO through a precise if somewhat lackluster performance of Prokofiev's Classical Symphony, which serves here as a stretching session compared to the substantially heavier fare to follow. Universally acclaimed violist Yuri Bashmet leads an intrepid and inspired treatment of Schnittke's Viola Concerto, which the composer penned especially for him. The centerpiece of the concert, though, is undoubtedly Stravinsky's Firebird, in which the orchestra and conductor are at the height of their powers, filling each moment with an intensity and excitement that reverberates through to its finish. The viewer owns the best seat in the house simply by virtue of strategic camera work and visual direction that captures individual members of the orchestra at key moments, finding the oboists before their featured melody, then panning to a cellist before he saws away a descending phrase. Included as special features are insightful interviews with Giergiev and Bashmet, which provide additional background into the inspirations behind the concert. --Karl WachterAmazonより All classical-music buffs should find much to appreciate in this captivating record of Valery Gergiev conducting the Viennese Philharmonic Orchestra in an all-Russian night of music at the 2000 Salzburg Festival. The production quality of the disc overall is first rate: from the moment the conductor greets his expectant audience until the last note is sounded, the symphony and its conductor are portrayed, visually, aurally, and stylistically at a standard of quality rarely seen. To begin Gergiev leads the VPO through a precise if somewhat lackluster performance of Prokofiev's Classical Symphony, which serves here as a stretching session compared to the substantially heavier fare to follow. Universally acclaimed violist Yuri Bashmet leads an intrepid and inspired treatment of Schnittke's Viola Concerto, which the composer penned especially for him. The centerpiece of the concert, though, is undoubtedly Stravinsky's Firebird, in which the orchestra and conductor are at the height of their powers, filling each moment with an intensity and excitement that reverberates through to its finish. The viewer owns the best seat in the house simply by virtue of strategic camera work and visual direction that captures individual members of the orchestra at key moments, finding the oboists before their featured melody, then panning to a cellist before he saws away a descending phrase. Included as special features are insightful interviews with Giergiev and Bashmet, which provide additional background into the inspirations behind the concert. --Karl Wachter中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Mozart - Cosi Fan Tutte / Muti, Dessi, Ziegler, Teatro alla Scala [DVD] [Import]

【中古】Mozart - Cosi Fan Tutte / Muti, Dessi, Ziegler, Teatro alla Scala [DVD] [Import]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment オペラ・声楽 Daniela Dess?: Actor; Delores Ziegler: Actor; Alessandro Corbelli: Actor; Adelina Scarabelli: Actor; Claudio Desderi: Actor; Ilio Catani: Actor; Jozef Kundlak: Director【商品説明】Mozart - Cosi Fan Tutte / Muti, Dessi, Ziegler, Teatro alla Scala [DVD] [Import]Amazonより これは、本音と欺まん、感情の操作、素振りや物腰の応酬を扱ったオペラだ。登場人物たちは、現代の多くの個人や団体が「政治的正しさ」を持っているのと同じような意味で「感情的正しさ」を持っている。オペラが進行するにつれて、2人の恋するヒーローたちとそのフィアンセたちは、次第に自分の愛し方に確信を持てなくなる。そこで彼らは、まず相手の期待どおりの言動を取ることから始めようとするのだ。その結果として、音楽的魅力たっぷりな上に、とても愉快な展開になっていく。第2幕において、それまでの感情は本物になる。操り人形のようだった登場人物たちは本気で涙を流し、この喜劇は深みを増しながらシリアスな主張に到達する。つまり、人間の弱さと互いの欠点を許す必要性を訴え始めるのだ。 以上の趣旨をこの公演はうまく押さえており、音楽的にも演劇的にも洗練された出来ばえとなっている。とりわけ歌声のアンサンブルは優秀だ。『コシ・ファン・トゥッテ』には6人のソロ歌手が登場する。どの役も負けず劣らず重要だが、本作では、その他大勢を差し置いて、女中のデスピーナがしばしば見せ場をさらう。そのデスピーナを演じるアデリーナ・スカラベッリは文句なしの好演。彼女の出演作を滅多に見られないことが残念でならない。（Joe McLellan, Amazon.com）Amazonより これは、本音と欺まん、感情の操作、素振りや物腰の応酬を扱ったオペラだ。登場人物たちは、現代の多くの個人や団体が「政治的正しさ」を持っているのと同じような意味で「感情的正しさ」を持っている。オペラが進行するにつれて、2人の恋するヒーローたちとそのフィアンセたちは、次第に自分の愛し方に確信を持てなくなる。そこで彼らは、まず相手の期待どおりの言動を取ることから始めようとするのだ。その結果として、音楽的魅力たっぷりな上に、とても愉快な展開になっていく。第2幕において、それまでの感情は本物になる。操り人形のようだった登場人物たちは本気で涙を流し、この喜劇は深みを増しながらシリアスな主張に到達する。つまり、人間の弱さと互いの欠点を許す必要性を訴え始めるのだ。 以上の趣旨をこの公演はうまく押さえており、音楽的にも演劇的にも洗練された出来ばえとなっている。とりわけ歌声のアンサンブルは優秀だ。『コシ・ファン・トゥッテ』には6人のソロ歌手が登場する。どの役も負けず劣らず重要だが、本作では、その他大勢を差し置いて、女中のデスピーナがしばしば見せ場をさらう。そのデスピーナを演じるアデリーナ・スカラベッリは文句なしの好演。彼女の出演作を滅多に見られないことが残念でならない。（Joe McLellan, Amazon.com）Amazonより これは、本音と欺まん、感情の操作、素振りや物腰の応酬を扱ったオペラだ。登場人物たちは、現代の多くの個人や団体が「政治的正しさ」を持っているのと同じような意味で「感情的正しさ」を持っている。オペラが進行するにつれて、2人の恋するヒーローたちとそのフィアンセたちは、次第に自分の愛し方に確信を持てなくなる。そこで彼らは、まず相手の期待どおりの言動を取ることから始めようとするのだ。その結果として、音楽的魅力たっぷりな上に、とても愉快な展開になっていく。第2幕において、それまでの感情は本物になる。操り人形のようだった登場人物たちは本気で涙を流し、この喜劇は深みを増しながらシリアスな主張に到達する。つまり、人間の弱さと互いの欠点を許す必要性を訴え始めるのだ。 以上の趣旨をこの公演はうまく押さえており、音楽的にも演劇的にも洗練された出来ばえとなっている。とりわけ歌声のアンサンブルは優秀だ。『コシ・ファン・トゥッテ』には6人のソロ歌手が登場する。どの役も負けず劣らず重要だが、本作では、その他大勢を差し置いて、女中のデスピーナがしばしば見せ場をさらう。そのデスピーナを演じるアデリーナ・スカラベッリは文句なしの好演。彼女の出演作を滅多に見られないことが残念でならない。（Joe McLellan, Amazon.com）Amazonより これは、本音と欺まん、感情の操作、素振りや物腰の応酬を扱ったオペラだ。登場人物たちは、現代の多くの個人や団体が「政治的正しさ」を持っているのと同じような意味で「感情的正しさ」を持っている。オペラが進行するにつれて、2人の恋するヒーローたちとそのフィアンセたちは、次第に自分の愛し方に確信を持てなくなる。そこで彼らは、まず相手の期待どおりの言動を取ることから始めようとするのだ。その結果として、音楽的魅力たっぷりな上に、とても愉快な展開になっていく。第2幕において、それまでの感情は本物になる。操り人形のようだった登場人物たちは本気で涙を流し、この喜劇は深みを増しながらシリアスな主張に到達する。つまり、人間の弱さと互いの欠点を許す必要性を訴え始めるのだ。 以上の趣旨をこの公演はうまく押さえており、音楽的にも演劇的にも洗練された出来ばえとなっている。とりわけ歌声のアンサンブルは優秀だ。『コシ・ファン・トゥッテ』には6人のソロ歌手が登場する。どの役も負けず劣らず重要だが、本作では、その他大勢を差し置いて、女中のデスピーナがしばしば見せ場をさらう。そのデスピーナを演じるアデリーナ・スカラベッリは文句なしの好演。彼女の出演作を滅多に見られないことが残念でならない。（Joe McLellan, Amazon.com）Amazonより これは、本音と欺まん、感情の操作、素振りや物腰の応酬を扱ったオペラだ。登場人物たちは、現代の多くの個人や団体が「政治的正しさ」を持っているのと同じような意味で「感情的正しさ」を持っている。オペラが進行するにつれて、2人の恋するヒーローたちとそのフィアンセたちは、次第に自分の愛し方に確信を持てなくなる。そこで彼らは、まず相手の期待どおりの言動を取ることから始めようとするのだ。その結果として、音楽的魅力たっぷりな上に、とても愉快な展開になっていく。第2幕において、それまでの感情は本物になる。操り人形のようだった登場人物たちは本気で涙を流し、この喜劇は深みを増しながらシリアスな主張に到達する。つまり、人間の弱さと互いの欠点を許す必要性を訴え始めるのだ。 以上の趣旨をこの公演はうまく押さえており、音楽的にも演劇的にも洗練された出来ばえとなっている。とりわけ歌声のアンサンブルは優秀だ。『コシ・ファン・トゥッテ』には6人のソロ歌手が登場する。どの役も負けず劣らず重要だが、本作では、その他大勢を差し置いて、女中のデスピーナがしばしば見せ場をさらう。そのデスピーナを演じるアデリーナ・スカラベッリは文句なしの好演。彼女の出演作を滅多に見られないことが残念でならない。（Joe McLellan, Amazon.com）中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Nutcracker (1968)

【中古】Nutcracker (1968)【メーカー名】【メーカー型番】【ブランド名】【商品説明】Nutcracker (1968)商品紹介 This historic 1968 Covent Garden production of Tchaikovsky's ballet masterpiece captures Rudolf Nureyev at the peak of his career. Nureyev's legendary performance makes this the definitive Nutcracker on video. Also features Merle Park as Clara, with Artists of the Royal Ballet, London. Now digitally re-mastered for DVD, this Nutcracker will be the highlight of every holiday season for years to come! Amazonより Another great historical performance from the Royal Ballet at Covent Garden in London that's been captured on tape, this 1968 production of Tchaikovsky's perennial holiday classic The Nutcracker stars two of the premier dancers of their (or any) time: ballerina Merle Park and the redoubtable Rudolf Nureyev. Both are seen in their considerable prime. Nureyev's choreography and production are also tastefully done, with the opening March of the Toy Soldiers and the climactic Dance of the Sugar Plum Fairies particularly beautifully handled. Conductor Charles Taylor leads the Orchestra of the Royal Opera House in a merry and vigorous reading of Tchaikovsky's wonderfully appealing score. As always with such legendary stagings taped for posterity, the video and audio quality aren't perfect, but they are more than adequate enough to appreciate and be endlessly entertained by Nureyev's, Park's, and Tchaikovsky's balletic mastery. --Kevin Filipski商品紹介 This historic 1968 Covent Garden production of Tchaikovsky's ballet masterpiece captures Rudolf Nureyev at the peak of his career. Nureyev's legendary performance makes this the definitive Nutcracker on video. Also features Merle Park as Clara, with Artists of the Royal Ballet, London. Now digitally re-mastered for DVD, this Nutcracker will be the highlight of every holiday season for years to come! Amazonより Another great historical performance from the Royal Ballet at Covent Garden in London that's been captured on tape, this 1968 production of Tchaikovsky's perennial holiday classic The Nutcracker stars two of the premier dancers of their (or any) time: ballerina Merle Park and the redoubtable Rudolf Nureyev. Both are seen in their considerable prime. Nureyev's choreography and production are also tastefully done, with the opening March of the Toy Soldiers and the climactic Dance of the Sugar Plum Fairies particularly beautifully handled. Conductor Charles Taylor leads the Orchestra of the Royal Opera House in a merry and vigorous reading of Tchaikovsky's wonderfully appealing score. As always with such legendary stagings taped for posterity, the video and audio quality aren't perfect, but they are more than adequate enough to appreciate and be endlessly entertained by Nureyev's, Park's, and Tchaikovsky's balletic mastery. --Kevin Filipski商品紹介 This historic 1968 Covent Garden production of Tchaikovsky's ballet masterpiece captures Rudolf Nureyev at the peak of his career. Nureyev's legendary performance makes this the definitive Nutcracker on video. Also features Merle Park as Clara, with Artists of the Royal Ballet, London. Now digitally re-mastered for DVD, this Nutcracker will be the highlight of every holiday season for years to come! Amazonより Another great historical performance from the Royal Ballet at Covent Garden in London that's been captured on tape, this 1968 production of Tchaikovsky's perennial holiday classic The Nutcracker stars two of the premier dancers of their (or any) time: ballerina Merle Park and the redoubtable Rudolf Nureyev. Both are seen in their considerable prime. Nureyev's choreography and production are also tastefully done, with the opening March of the Toy Soldiers and the climactic Dance of the Sugar Plum Fairies particularly beautifully handled. Conductor Charles Taylor leads the Orchestra of the Royal Opera House in a merry and vigorous reading of Tchaikovsky's wonderfully appealing score. As always with such legendary stagings taped for posterity, the video and audio quality aren't perfect, but they are more than adequate enough to appreciate and be endlessly entertained by Nureyev's, Park's, and Tchaikovsky's balletic mastery. --Kevin Filipski商品紹介 This historic 1968 Covent Garden production of Tchaikovsky's ballet masterpiece captures Rudolf Nureyev at the peak of his career. Nureyev's legendary performance makes this the definitive Nutcracker on video. Also features Merle Park as Clara, with Artists of the Royal Ballet, London. Now digitally re-mastered for DVD, this Nutcracker will be the highlight of every holiday season for years to come! Amazonより Another great historical performance from the Royal Ballet at Covent Garden in London that's been captured on tape, this 1968 production of Tchaikovsky's perennial holiday classic The Nutcracker stars two of the premier dancers of their (or any) time: ballerina Merle Park and the redoubtable Rudolf Nureyev. Both are seen in their considerable prime. Nureyev's choreography and production are also tastefully done, with the opening March of the Toy Soldiers and the climactic Dance of the Sugar Plum Fairies particularly beautifully handled. Conductor Charles Taylor leads the Orchestra of the Royal Opera House in a merry and vigorous reading of Tchaikovsky's wonderfully appealing score. As always with such legendary stagings taped for posterity, the video and audio quality aren't perfect, but they are more than adequate enough to appreciate and be endlessly entertained by Nureyev's, Park's, and Tchaikovsky's balletic mastery. --Kevin Filipski商品紹介 This historic 1968 Covent Garden production of Tchaikovsky's ballet masterpiece captures Rudolf Nureyev at the peak of his career. Nureyev's legendary performance makes this the definitive Nutcracker on video. Also features Merle Park as Clara, with Artists of the Royal Ballet, London. Now digitally re-mastered for DVD, this Nutcracker will be the highlight of every holiday season for years to come! Amazonより Another great historical performance from the Royal Ballet at Covent Garden in London that's been captured on tape, this 1968 production of Tchaikovsky's perennial holiday classic The Nutcracker stars two of the premier dancers of their (or any) time: ballerina Merle Park and the redoubtable Rudolf Nureyev. Both are seen in their considerable prime. Nureyev's choreography and production are also tastefully done, with the opening March of the Toy Soldiers and the climactic Dance of the Sugar Plum Fairies particularly beautifully handled. Conductor Charles Taylor leads the Orchestra of the Royal Opera House in a merry and vigorous reading of Tchaikovsky's wonderfully appealing score. As always with such legendary stagings taped for posterity, the video and audio quality aren't perfect, but they are more than adequate enough to appreciate and be endlessly entertained by Nureyev's, Park's, and Tchaikovsky's balletic mastery. --Kevin Filipski中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Offenbach - Des contes d'Hoffmann (Some Tales of Hoffmann) / Nagano, Galvez-Vallejo, Dessay, Lyon Opera [DVD] [Import]

【中古】Offenbach - Des contes d'Hoffmann (Some Tales of Hoffmann) / Nagano, Galvez-Vallejo, Dessay, Lyon Opera [DVD] [Import]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment オペラ・声楽 Offenbach: Artist; Opera De Lyon: Artist【商品説明】Offenbach - Des contes d'Hoffmann (Some Tales of Hoffmann) / Nagano, Galvez-Vallejo, Dessay, Lyon Opera [DVD] [Import]Amazonより This is not quite the most controversial opera video recording of our time (that title would probably go to Valery Gergiev's 1993 Kirov production of Prokofiev's The Fiery Angel), but it is a strong contender. It has, in one package, two tendencies that give special creative tensions to opera production in our time: the musicians' imperative for fidelity to the composer's intentions, and the stage director's impulse to use the story, characters, sets, costumes, etc., as springboards for his own creative imagination. Jacques Offenbach's last opera (his only grand opera) is specially vulnerable to such tensions because he died before finishing it. Musically, some of the opera's best-loved moments (notably the bass aria "Scintille, diamant") were cobbled together (using melodic material from other Offenbach works) after Offenbach's death. This production, the first video recording based on the new, critical performing score prepared by musicologist Michael Kaye, omits those beloved, spurious numbers. They are missed, but it's hard to complain about the omission of inauthentic material. In any case, conductor Kent Nagano has assembled a superb cast that does the music full vocal justice--most notably Natalie Dessay, Gabriel Bacquier, and Jose Van Dam. While Nagano works hard to respect Offenbach's intentions, stage director Louis Erlo runs roughshod over them, so much so that at Kaye's suggestion the production's title was changed from The Tales of Hoffmann to Some Tales of Hoffmann. Offenbach's original treatment takes place in four European cities where Hoffmann fights the same implacable enemy through one doomed love affair after another. In this production, the locale shrinks to one location--a symbol-infested mental hospital. This fits the feverish, surreal atmosphere of E.T.A. Hoffmann's stories and Offenbach's imaginative musical treatment, but many patrons have found the staging offensive--as is their right. I find it often stimulating, but I would not want it to be the only Hoffmann on my shelf. --Joe McLellanAmazonより This is not quite the most controversial opera video recording of our time (that title would probably go to Valery Gergiev's 1993 Kirov production of Prokofiev's The Fiery Angel), but it is a strong contender. It has, in one package, two tendencies that give special creative tensions to opera production in our time: the musicians' imperative for fidelity to the composer's intentions, and the stage director's impulse to use the story, characters, sets, costumes, etc., as springboards for his own creative imagination. Jacques Offenbach's last opera (his only grand opera) is specially vulnerable to such tensions because he died before finishing it. Musically, some of the opera's best-loved moments (notably the bass aria "Scintille, diamant") were cobbled together (using melodic material from other Offenbach works) after Offenbach's death. This production, the first video recording based on the new, critical performing score prepared by musicologist Michael Kaye, omits those beloved, spurious numbers. They are missed, but it's hard to complain about the omission of inauthentic material. In any case, conductor Kent Nagano has assembled a superb cast that does the music full vocal justice--most notably Natalie Dessay, Gabriel Bacquier, and Jose Van Dam. While Nagano works hard to respect Offenbach's intentions, stage director Louis Erlo runs roughshod over them, so much so that at Kaye's suggestion the production's title was changed from The Tales of Hoffmann to Some Tales of Hoffmann. Offenbach's original treatment takes place in four European cities where Hoffmann fights the same implacable enemy through one doomed love affair after another. In this production, the locale shrinks to one location--a symbol-infested mental hospital. This fits the feverish, surreal atmosphere of E.T.A. Hoffmann's stories and Offenbach's imaginative musical treatment, but many patrons have found the staging offensive--as is their right. I find it often stimulating, but I would not want it to be the only Hoffmann on my shelf. --Joe McLellanAmazonより This is not quite the most controversial opera video recording of our time (that title would probably go to Valery Gergiev's 1993 Kirov production of Prokofiev's The Fiery Angel), but it is a strong contender. It has, in one package, two tendencies that give special creative tensions to opera production in our time: the musicians' imperative for fidelity to the composer's intentions, and the stage director's impulse to use the story, characters, sets, costumes, etc., as springboards for his own creative imagination. Jacques Offenbach's last opera (his only grand opera) is specially vulnerable to such tensions because he died before finishing it. Musically, some of the opera's best-loved moments (notably the bass aria "Scintille, diamant") were cobbled together (using melodic material from other Offenbach works) after Offenbach's death. This production, the first video recording based on the new, critical performing score prepared by musicologist Michael Kaye, omits those beloved, spurious numbers. They are missed, but it's hard to complain about the omission of inauthentic material. In any case, conductor Kent Nagano has assembled a superb cast that does the music full vocal justice--most notably Natalie Dessay, Gabriel Bacquier, and Jose Van Dam. While Nagano works hard to respect Offenbach's intentions, stage director Louis Erlo runs roughshod over them, so much so that at Kaye's suggestion the production's title was changed from The Tales of Hoffmann to Some Tales of Hoffmann. Offenbach's original treatment takes place in four European cities where Hoffmann fights the same implacable enemy through one doomed love affair after another. In this production, the locale shrinks to one location--a symbol-infested mental hospital. This fits the feverish, surreal atmosphere of E.T.A. Hoffmann's stories and Offenbach's imaginative musical treatment, but many patrons have found the staging offensive--as is their right. I find it often stimulating, but I would not want it to be the only Hoffmann on my shelf. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Das Lied Von Der Erde / Kingertotenlieder [DVD]

【中古】Das Lied Von Der Erde / Kingertotenlieder [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment 交響曲・管弦楽曲 Georges Bessonnet: Actor【商品説明】Das Lied Von Der Erde / Kingertotenlieder [DVD]Amazonより If you're expecting a good old concert performance of Mahler's ode to sorrow, memory, death, and rebirth, be forewarned. What you will see on this disc is a staged version of Das Lied von der Erde. Beginning with the words "When music is for the eyes to see," we are told in a preamble that Mahler has returned from America "pale and ghostly." We watch as the music reveals his inner struggles, torments, and remembrances of his dead children. Is this a good way to go about presenting Das Lied? That's entirely up to you. The performance by the Bass-Normandy Orchestral Ensemble conducted by Dominique Debart is really quite good. A further warning: the music is performed in a transcription for 13 musicians by Arnold Sch?nberg. This may elicit gasping from purists, but rest assured that the playing is very good, and the quiet moments have a wonderful transparency. Don't be fooled, though: 13 people (no trumpets or trombones, only one percussionist) cannot begin to approach the kind of volume that one traditionally associates with Mahler. The singing by tenor Vincent de Rooster and mezzo-soprano Helene Jossoud is first rate. The interpretation has moments of real sweep and beauty. Also on the disc is the Kindertotenlieder in another arrangement for small forces, this time by the conductor, Amaury du Clossel. This is a traditional performance video, and a rather boring one; the singing by mezzo-soprano Claire Brua is only so-so, and the playing (this time by Atelier Lyrique et Symphonique du Centre) is not good. It might be best to hit that stop button before you get to this part of the disc. -- Seth KrimskyAmazonより If you're expecting a good old concert performance of Mahler's ode to sorrow, memory, death, and rebirth, be forewarned. What you will see on this disc is a staged version of Das Lied von der Erde. Beginning with the words "When music is for the eyes to see," we are told in a preamble that Mahler has returned from America "pale and ghostly." We watch as the music reveals his inner struggles, torments, and remembrances of his dead children. Is this a good way to go about presenting Das Lied? That's entirely up to you. The performance by the Bass-Normandy Orchestral Ensemble conducted by Dominique Debart is really quite good. A further warning: the music is performed in a transcription for 13 musicians by Arnold Sch?nberg. This may elicit gasping from purists, but rest assured that the playing is very good, and the quiet moments have a wonderful transparency. Don't be fooled, though: 13 people (no trumpets or trombones, only one percussionist) cannot begin to approach the kind of volume that one traditionally associates with Mahler. The singing by tenor Vincent de Rooster and mezzo-soprano Helene Jossoud is first rate. The interpretation has moments of real sweep and beauty. Also on the disc is the Kindertotenlieder in another arrangement for small forces, this time by the conductor, Amaury du Clossel. This is a traditional performance video, and a rather boring one; the singing by mezzo-soprano Claire Brua is only so-so, and the playing (this time by Atelier Lyrique et Symphonique du Centre) is not good. It might be best to hit that stop button before you get to this part of the disc. -- Seth KrimskyAmazonより If you're expecting a good old concert performance of Mahler's ode to sorrow, memory, death, and rebirth, be forewarned. What you will see on this disc is a staged version of Das Lied von der Erde. Beginning with the words "When music is for the eyes to see," we are told in a preamble that Mahler has returned from America "pale and ghostly." We watch as the music reveals his inner struggles, torments, and remembrances of his dead children. Is this a good way to go about presenting Das Lied? That's entirely up to you. The performance by the Bass-Normandy Orchestral Ensemble conducted by Dominique Debart is really quite good. A further warning: the music is performed in a transcription for 13 musicians by Arnold Sch?nberg. This may elicit gasping from purists, but rest assured that the playing is very good, and the quiet moments have a wonderful transparency. Don't be fooled, though: 13 people (no trumpets or trombones, only one percussionist) cannot begin to approach the kind of volume that one traditionally associates with Mahler. The singing by tenor Vincent de Rooster and mezzo-soprano Helene Jossoud is first rate. The interpretation has moments of real sweep and beauty. Also on the disc is the Kindertotenlieder in another arrangement for small forces, this time by the conductor, Amaury du Clossel. This is a traditional performance video, and a rather boring one; the singing by mezzo-soprano Claire Brua is only so-so, and the playing (this time by Atelier Lyrique et Symphonique du Centre) is not good. It might be best to hit that stop button before you get to this part of the disc. -- Seth KrimskyAmazonより If you're expecting a good old concert performance of Mahler's ode to sorrow, memory, death, and rebirth, be forewarned. What you will see on this disc is a staged version of Das Lied von der Erde. Beginning with the words "When music is for the eyes to see," we are told in a preamble that Mahler has returned from America "pale and ghostly." We watch as the music reveals his inner struggles, torments, and remembrances of his dead children. Is this a good way to go about presenting Das Lied? That's entirely up to you. The performance by the Bass-Normandy Orchestral Ensemble conducted by Dominique Debart is really quite good. A further warning: the music is performed in a transcription for 13 musicians by Arnold Sch?nberg. This may elicit gasping from purists, but rest assured that the playing is very good, and the quiet moments have a wonderful transparency. Don't be fooled, though: 13 people (no trumpets or trombones, only one percussionist) cannot begin to approach the kind of volume that one traditionally associates with Mahler. The singing by tenor Vincent de Rooster and mezzo-soprano Helene Jossoud is first rate. The interpretation has moments of real sweep and beauty. Also on the disc is the Kindertotenlieder in another arrangement for small forces, this time by the conductor, Amaury du Clossel. This is a traditional performance video, and a rather boring one; the singing by mezzo-soprano Claire Brua is only so-so, and the playing (this time by Atelier Lyrique et Symphonique du Centre) is not good. It might be best to hit that stop button before you get to this part of the disc. -- Seth Krimsky中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Aida [DVD]

【中古】Aida [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment オペラ・声楽 Verdi: Artist; Theatre of San Carlo: Artist; Oren: Artist【商品説明】Aida [DVD]Amazonより For many devotees of Aida, the size of a performance's production budget is the most important consideration. In this respect, the San Carlo Opera Company falls behind its chief video competitors, La Scala and the Metropolitan Opera, particularly in the lavish, half-hour triumphal scene in Act II. But in its more modest way, with only one singer (Dolora Zajick) who has a strong international reputation, it gives a good musical account of Verdi's score. The costumes and choreography are undistinguished but adequate; the singers in the principal roles are visually less than ideal but more convincing than Pavarotti at La Scala and properly impassioned in the best Italian provincial style. The chorus and orchestra are capable and Daniel Oren keeps the music under firm control. With more splendor in the spectacular scenes, this could have been surprisingly competitive. As is, it's more likable than one might expect. --Joe McLellanAmazonより For many devotees of Aida, the size of a performance's production budget is the most important consideration. In this respect, the San Carlo Opera Company falls behind its chief video competitors, La Scala and the Metropolitan Opera, particularly in the lavish, half-hour triumphal scene in Act II. But in its more modest way, with only one singer (Dolora Zajick) who has a strong international reputation, it gives a good musical account of Verdi's score. The costumes and choreography are undistinguished but adequate; the singers in the principal roles are visually less than ideal but more convincing than Pavarotti at La Scala and properly impassioned in the best Italian provincial style. The chorus and orchestra are capable and Daniel Oren keeps the music under firm control. With more splendor in the spectacular scenes, this could have been surprisingly competitive. As is, it's more likable than one might expect. --Joe McLellanAmazonより For many devotees of Aida, the size of a performance's production budget is the most important consideration. In this respect, the San Carlo Opera Company falls behind its chief video competitors, La Scala and the Metropolitan Opera, particularly in the lavish, half-hour triumphal scene in Act II. But in its more modest way, with only one singer (Dolora Zajick) who has a strong international reputation, it gives a good musical account of Verdi's score. The costumes and choreography are undistinguished but adequate; the singers in the principal roles are visually less than ideal but more convincing than Pavarotti at La Scala and properly impassioned in the best Italian provincial style. The chorus and orchestra are capable and Daniel Oren keeps the music under firm control. With more splendor in the spectacular scenes, this could have been surprisingly competitive. As is, it's more likable than one might expect. --Joe McLellanAmazonより For many devotees of Aida, the size of a performance's production budget is the most important consideration. In this respect, the San Carlo Opera Company falls behind its chief video competitors, La Scala and the Metropolitan Opera, particularly in the lavish, half-hour triumphal scene in Act II. But in its more modest way, with only one singer (Dolora Zajick) who has a strong international reputation, it gives a good musical account of Verdi's score. The costumes and choreography are undistinguished but adequate; the singers in the principal roles are visually less than ideal but more convincing than Pavarotti at La Scala and properly impassioned in the best Italian provincial style. The chorus and orchestra are capable and Daniel Oren keeps the music under firm control. With more splendor in the spectacular scenes, this could have been surprisingly competitive. As is, it's more likable than one might expect. --Joe McLellanAmazonより For many devotees of Aida, the size of a performance's production budget is the most important consideration. In this respect, the San Carlo Opera Company falls behind its chief video competitors, La Scala and the Metropolitan Opera, particularly in the lavish, half-hour triumphal scene in Act II. But in its more modest way, with only one singer (Dolora Zajick) who has a strong international reputation, it gives a good musical account of Verdi's score. The costumes and choreography are undistinguished but adequate; the singers in the principal roles are visually less than ideal but more convincing than Pavarotti at La Scala and properly impassioned in the best Italian provincial style. The chorus and orchestra are capable and Daniel Oren keeps the music under firm control. With more splendor in the spectacular scenes, this could have been surprisingly competitive. As is, it's more likable than one might expect. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Swan Lake [DVD] [Import]

【中古】Swan Lake [DVD] [Import]【メーカー名】【メーカー型番】【ブランド名】【商品説明】Swan Lake [DVD] [Import]Amazonレビュー Swan Lake became an unexpected popular hit when radical choreographer Matthew Bourne took Tchaikovsky's traditional ballet by the scruff of the neck and reworked it with a myriad of modern influences and themes to astonishing effect. Seldom have the dark psychological riptides at the heart of so many classical ballets been so brilliantly exposed. The Prince (Scott Ambler) is a wretched and dissolute young man dominated by his mother, the Joan Collins-like Queen (Fiona Ambler). Shades of Tennessee Williams, indeed. Von Rothbart becomes a press secretary, more sinister eminence grise than hissable villain. Most startling of all, the Swan (Adam Cooper) is a muscular, emphatically masculine male. Bourne has stressed the universality of his interpretation, which proved such a success for his Adventures in Motion Pictures dance company. And indeed this is never an overtly "gay" Swan Lake, although the electricity of the pas de deux at the height of Act 2 delivers a palpably homoerotic charge. Its universal threads--as Bourne suggests, the need to be held and understood is common to us all--are synthesized in the utterly moving conclusion as the Swan cradles the lifeless Prince and raises him to a better place. Swan Lake becomes a human, rather than simply romantic, tragedy. --Piers Ford 内容紹介 Matthew Bourne, director and choreographer of Adventures in Motion Pictures--a maverick new modern dance company based in London--brings a new twist to an old classic with this production of "Swan Lake." Taking advantage of the public's preoccupation with the ups and downs of the royal family, Bourne has set his story in the modern era and has cast all the swans--including the Odette/Odile role--as males. Boutne's creation brings great ballet to an audience it has never before reached, and for cognoscenti offers a new view of the breadth of possibilty in Tchaikovsky's well-loved score. "Swan Lake" enjoyed a sold-out run in London and a subsequent critically acclaimed and public-adored Broadway stint. Product Description Matthew Bourne, director and choreographer of Adventures in Motion Pictures--a maverick new modern dance company based in London--brings a new twist to an old classic with this production of "Swan Lake." Taking advantage of the public's preoccupation with the ups and downs of the royal family, Bourne has set his story in the modern era and has cast all the swans--including the Odette/Odile role--as males. Boutne's creation brings great ballet to an audience it has never before reached, and for cognoscenti offers a new view of the breadth of possibilty in Tchaikovsky's well-loved score. "Swan Lake" enjoyed a sold-out run in London and a subsequent critically acclaimed and public-adored Broadway stint.Amazonレビュー Swan Lake became an unexpected popular hit when radical choreographer Matthew Bourne took Tchaikovsky's traditional ballet by the scruff of the neck and reworked it with a myriad of modern influences and themes to astonishing effect. Seldom have the dark psychological riptides at the heart of so many classical ballets been so brilliantly exposed. The Prince (Scott Ambler) is a wretched and dissolute young man dominated by his mother, the Joan Collins-like Queen (Fiona Ambler). Shades of Tennessee Williams, indeed. Von Rothbart becomes a press secretary, more sinister eminence grise than hissable villain. Most startling of all, the Swan (Adam Cooper) is a muscular, emphatically masculine male. Bourne has stressed the universality of his interpretation, which proved such a success for his Adventures in Motion Pictures dance company. And indeed this is never an overtly "gay" Swan Lake, although the electricity of the pas de deux at the height of Act 2 delivers a palpably homoerotic charge. Its universal threads--as Bourne suggests, the need to be held and understood is common to us all--are synthesized in the utterly moving conclusion as the Swan cradles the lifeless Prince and raises him to a better place. Swan Lake becomes a human, rather than simply romantic, tragedy. --Piers Ford 内容紹介 Matthew Bourne, director and choreographer of Adventures in Motion Pictures--a maverick new modern dance company based in London--brings a new twist to an old classic with this production of "Swan Lake." Taking advantage of the public's preoccupation with the ups and downs of the royal family, Bourne has set his story in the modern era and has cast all the swans--including the Odette/Odile role--as males. Boutne's creation brings great ballet to an audience it has never before reached, and for cognoscenti offers a new view of the breadth of possibilty in Tchaikovsky's well-loved score. "Swan Lake" enjoyed a sold-out run in London and a subsequent critically acclaimed and public-adored Broadway stint. Product Description Matthew Bourne, director and choreographer of Adventures in Motion Pictures--a maverick new modern dance company based in London--brings a new twist to an old classic with this production of "Swan Lake." Taking advantage of the public's preoccupation with the ups and downs of the royal family, Bourne has set his story in the modern era and has cast all the swans--including the Odette/Odile role--as males. Boutne's creation brings great ballet to an audience it has never before reached, and for cognoscenti offers a new view of the breadth of possibilty in Tchaikovsky's well-loved score. "Swan Lake" enjoyed a sold-out run in London and a subsequent critically acclaimed and public-adored Broadway stint.中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Concerto Di Natale [DVD]

【中古】Concerto Di Natale [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment クラシック Jose Carreras (II): Actor【商品説明】Concerto Di Natale [DVD]Amazonより Taped in 1998 at the Basilica di S. Ambrogio in Milan, this Christmas concert starring Jos? Carreras with David Gimenez conducting the Arturo Toscanini Orchestra includes a few sentimental religious favorites, notably C?sar Franck's "Panis Angelicus," Schubert's "Ave Maria" (in which he gets the words mixed up), the anonymous "Adeste Fideles," "Silent Night" sung in Italian, and "The Lord's Prayer," sung (in English) as an encore and, for some viewers, probably worth the price of the disc. There are baroque orchestral selections (a Bach overture, the "Arrival of the Queen of Sheba" from Handel's Solomon), and some pop favorites: "The Little Drummer Boy," sung in both English and Italian, and "White Christmas," sung as an encore in English. Among the more exotic items are an Italian adaptation of a Schubert lullaby titled "Mille cherubini in coro" ("A thousand Cherubim in chorus") and a setting of "Panis Angelicus" attributed to J.S. Bach, who would have had serious theological problems with the text. Most of the time, the performance is essentially operatic, with lush orchestration and lots of vocal vibrato, whether the music happens to be folk, pop, or liturgical. Carreras's fans will be satisfied, as his voice is in good condition and he sounds generally comfortable with the material, particularly in the Spanish and Catalan numbers. --Joe McLellanAmazonより Taped in 1998 at the Basilica di S. Ambrogio in Milan, this Christmas concert starring Jos? Carreras with David Gimenez conducting the Arturo Toscanini Orchestra includes a few sentimental religious favorites, notably C?sar Franck's "Panis Angelicus," Schubert's "Ave Maria" (in which he gets the words mixed up), the anonymous "Adeste Fideles," "Silent Night" sung in Italian, and "The Lord's Prayer," sung (in English) as an encore and, for some viewers, probably worth the price of the disc. There are baroque orchestral selections (a Bach overture, the "Arrival of the Queen of Sheba" from Handel's Solomon), and some pop favorites: "The Little Drummer Boy," sung in both English and Italian, and "White Christmas," sung as an encore in English. Among the more exotic items are an Italian adaptation of a Schubert lullaby titled "Mille cherubini in coro" ("A thousand Cherubim in chorus") and a setting of "Panis Angelicus" attributed to J.S. Bach, who would have had serious theological problems with the text. Most of the time, the performance is essentially operatic, with lush orchestration and lots of vocal vibrato, whether the music happens to be folk, pop, or liturgical. Carreras's fans will be satisfied, as his voice is in good condition and he sounds generally comfortable with the material, particularly in the Spanish and Catalan numbers. --Joe McLellanAmazonより Taped in 1998 at the Basilica di S. Ambrogio in Milan, this Christmas concert starring Jos? Carreras with David Gimenez conducting the Arturo Toscanini Orchestra includes a few sentimental religious favorites, notably C?sar Franck's "Panis Angelicus," Schubert's "Ave Maria" (in which he gets the words mixed up), the anonymous "Adeste Fideles," "Silent Night" sung in Italian, and "The Lord's Prayer," sung (in English) as an encore and, for some viewers, probably worth the price of the disc. There are baroque orchestral selections (a Bach overture, the "Arrival of the Queen of Sheba" from Handel's Solomon), and some pop favorites: "The Little Drummer Boy," sung in both English and Italian, and "White Christmas," sung as an encore in English. Among the more exotic items are an Italian adaptation of a Schubert lullaby titled "Mille cherubini in coro" ("A thousand Cherubim in chorus") and a setting of "Panis Angelicus" attributed to J.S. Bach, who would have had serious theological problems with the text. Most of the time, the performance is essentially operatic, with lush orchestration and lots of vocal vibrato, whether the music happens to be folk, pop, or liturgical. Carreras's fans will be satisfied, as his voice is in good condition and he sounds generally comfortable with the material, particularly in the Spanish and Catalan numbers. --Joe McLellanAmazonより Taped in 1998 at the Basilica di S. Ambrogio in Milan, this Christmas concert starring Jos? Carreras with David Gimenez conducting the Arturo Toscanini Orchestra includes a few sentimental religious favorites, notably C?sar Franck's "Panis Angelicus," Schubert's "Ave Maria" (in which he gets the words mixed up), the anonymous "Adeste Fideles," "Silent Night" sung in Italian, and "The Lord's Prayer," sung (in English) as an encore and, for some viewers, probably worth the price of the disc. There are baroque orchestral selections (a Bach overture, the "Arrival of the Queen of Sheba" from Handel's Solomon), and some pop favorites: "The Little Drummer Boy," sung in both English and Italian, and "White Christmas," sung as an encore in English. Among the more exotic items are an Italian adaptation of a Schubert lullaby titled "Mille cherubini in coro" ("A thousand Cherubim in chorus") and a setting of "Panis Angelicus" attributed to J.S. Bach, who would have had serious theological problems with the text. Most of the time, the performance is essentially operatic, with lush orchestration and lots of vocal vibrato, whether the music happens to be folk, pop, or liturgical. Carreras's fans will be satisfied, as his voice is in good condition and he sounds generally comfortable with the material, particularly in the Spanish and Catalan numbers. --Joe McLellanAmazonより Taped in 1998 at the Basilica di S. Ambrogio in Milan, this Christmas concert starring Jos? Carreras with David Gimenez conducting the Arturo Toscanini Orchestra includes a few sentimental religious favorites, notably C?sar Franck's "Panis Angelicus," Schubert's "Ave Maria" (in which he gets the words mixed up), the anonymous "Adeste Fideles," "Silent Night" sung in Italian, and "The Lord's Prayer," sung (in English) as an encore and, for some viewers, probably worth the price of the disc. There are baroque orchestral selections (a Bach overture, the "Arrival of the Queen of Sheba" from Handel's Solomon), and some pop favorites: "The Little Drummer Boy," sung in both English and Italian, and "White Christmas," sung as an encore in English. Among the more exotic items are an Italian adaptation of a Schubert lullaby titled "Mille cherubini in coro" ("A thousand Cherubim in chorus") and a setting of "Panis Angelicus" attributed to J.S. Bach, who would have had serious theological problems with the text. Most of the time, the performance is essentially operatic, with lush orchestration and lots of vocal vibrato, whether the music happens to be folk, pop, or liturgical. Carreras's fans will be satisfied, as his voice is in good condition and he sounds generally comfortable with the material, particularly in the Spanish and Catalan numbers. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Violin Concerto in the Gardens of Spain [DVD] [Import]

【中古】Violin Concerto in the Gardens of Spain [DVD] [Import]【メーカー名】【メーカー型番】【ブランド名】【商品説明】Violin Concerto in the Gardens of Spain [DVD] [Import]Amazonより Sibelius's solitary concerto is one of the most passionate tests for the violin virtuoso, one to which Maxim Vengerov is more than equal. He captures the work's passion and its occasional quirky patches of the spookily sublime. His performances of the "Sarabande" from the Bach Second Partita and the "Ballade" from Ysaye's Third Sonata are admirable encores demonstrating his range and his elegant control. Daniel Barenboim's piano performance of the de Falla Nights in the Gardens of Spain is equally virtuosic, bringing out the work's structure as well as its local color. Placido Domingo's conducting is solid and serviceable. Barenboim ends the concert with three de Falla orchestral showstoppers--the "Farruca" from The Three-Cornered Hat and the "Magic Circle" and "Ritual Fire Dance" from Love the Magician. The Chicago Symphony perform throughout with their usual vigor and fine orchestral color, but are particularly remarkable in these three encores. --Roz Kaveney, Amazon.co.ukAmazonより Sibelius's solitary concerto is one of the most passionate tests for the violin virtuoso, one to which Maxim Vengerov is more than equal. He captures the work's passion and its occasional quirky patches of the spookily sublime. His performances of the "Sarabande" from the Bach Second Partita and the "Ballade" from Ysaye's Third Sonata are admirable encores demonstrating his range and his elegant control. Daniel Barenboim's piano performance of the de Falla Nights in the Gardens of Spain is equally virtuosic, bringing out the work's structure as well as its local color. Placido Domingo's conducting is solid and serviceable. Barenboim ends the concert with three de Falla orchestral showstoppers--the "Farruca" from The Three-Cornered Hat and the "Magic Circle" and "Ritual Fire Dance" from Love the Magician. The Chicago Symphony perform throughout with their usual vigor and fine orchestral color, but are particularly remarkable in these three encores. --Roz Kaveney, Amazon.co.ukAmazonより Sibelius's solitary concerto is one of the most passionate tests for the violin virtuoso, one to which Maxim Vengerov is more than equal. He captures the work's passion and its occasional quirky patches of the spookily sublime. His performances of the "Sarabande" from the Bach Second Partita and the "Ballade" from Ysaye's Third Sonata are admirable encores demonstrating his range and his elegant control. Daniel Barenboim's piano performance of the de Falla Nights in the Gardens of Spain is equally virtuosic, bringing out the work's structure as well as its local color. Placido Domingo's conducting is solid and serviceable. Barenboim ends the concert with three de Falla orchestral showstoppers--the "Farruca" from The Three-Cornered Hat and the "Magic Circle" and "Ritual Fire Dance" from Love the Magician. The Chicago Symphony perform throughout with their usual vigor and fine orchestral color, but are particularly remarkable in these three encores. --Roz Kaveney, Amazon.co.ukAmazonより Sibelius's solitary concerto is one of the most passionate tests for the violin virtuoso, one to which Maxim Vengerov is more than equal. He captures the work's passion and its occasional quirky patches of the spookily sublime. His performances of the "Sarabande" from the Bach Second Partita and the "Ballade" from Ysaye's Third Sonata are admirable encores demonstrating his range and his elegant control. Daniel Barenboim's piano performance of the de Falla Nights in the Gardens of Spain is equally virtuosic, bringing out the work's structure as well as its local color. Placido Domingo's conducting is solid and serviceable. Barenboim ends the concert with three de Falla orchestral showstoppers--the "Farruca" from The Three-Cornered Hat and the "Magic Circle" and "Ritual Fire Dance" from Love the Magician. The Chicago Symphony perform throughout with their usual vigor and fine orchestral color, but are particularly remarkable in these three encores. --Roz Kaveney, Amazon.co.ukAmazonより Sibelius's solitary concerto is one of the most passionate tests for the violin virtuoso, one to which Maxim Vengerov is more than equal. He captures the work's passion and its occasional quirky patches of the spookily sublime. His performances of the "Sarabande" from the Bach Second Partita and the "Ballade" from Ysaye's Third Sonata are admirable encores demonstrating his range and his elegant control. Daniel Barenboim's piano performance of the de Falla Nights in the Gardens of Spain is equally virtuosic, bringing out the work's structure as well as its local color. Placido Domingo's conducting is solid and serviceable. Barenboim ends the concert with three de Falla orchestral showstoppers--the "Farruca" from The Three-Cornered Hat and the "Magic Circle" and "Ritual Fire Dance" from Love the Magician. The Chicago Symphony perform throughout with their usual vigor and fine orchestral color, but are particularly remarkable in these three encores. --Roz Kaveney, Amazon.co.uk中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】William Tell [DVD]

【中古】William Tell [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment オペラ・声楽 Giorgio Zancanaro: Actor; Chris Merritt: Actor; Giorgio Surjan: Actor; Franco de Grandis: Actor; Amelia Felle: Actor; Luciana D'Intino: Actor; Vittorio Terranova: Actor; Alberto Noli: Actor; Luigi Roni: Actor; Cheryl Studer: Actor; Ernesto Gavazzi: Actor; Ernesto Panariello: Actor; Giorgio Zancanaro: Cast Member; Armand Marrat: Writer; Hippolyte Bis: Writer; ?tienne de Jouy: Writer【商品説明】William Tell [DVD]Amazonより In its first video recording, the unfamiliar opera that follows the ultra-familiar overture is presented uncut--four hours of music, which seem shorter thanks to powerful conducting, virtuoso singing, and imaginative staging that often suggests more than it actually shows. Instead of scenery, a sense of time and place is evoked by projections of Swiss scenes on three large screens, and well-used props and costumes (of Rossini's era, not the Middle Ages where the action is usually set). The music is uneven but always effective and often splendid. The solo singers are good--particularly Chris Merritt in a very challenging role--and the orchestra and chorus are superb. --Joe McLellanAmazonより In its first video recording, the unfamiliar opera that follows the ultra-familiar overture is presented uncut--four hours of music, which seem shorter thanks to powerful conducting, virtuoso singing, and imaginative staging that often suggests more than it actually shows. Instead of scenery, a sense of time and place is evoked by projections of Swiss scenes on three large screens, and well-used props and costumes (of Rossini's era, not the Middle Ages where the action is usually set). The music is uneven but always effective and often splendid. The solo singers are good--particularly Chris Merritt in a very challenging role--and the orchestra and chorus are superb. --Joe McLellanAmazonより In its first video recording, the unfamiliar opera that follows the ultra-familiar overture is presented uncut--four hours of music, which seem shorter thanks to powerful conducting, virtuoso singing, and imaginative staging that often suggests more than it actually shows. Instead of scenery, a sense of time and place is evoked by projections of Swiss scenes on three large screens, and well-used props and costumes (of Rossini's era, not the Middle Ages where the action is usually set). The music is uneven but always effective and often splendid. The solo singers are good--particularly Chris Merritt in a very challenging role--and the orchestra and chorus are superb. --Joe McLellanAmazonより In its first video recording, the unfamiliar opera that follows the ultra-familiar overture is presented uncut--four hours of music, which seem shorter thanks to powerful conducting, virtuoso singing, and imaginative staging that often suggests more than it actually shows. Instead of scenery, a sense of time and place is evoked by projections of Swiss scenes on three large screens, and well-used props and costumes (of Rossini's era, not the Middle Ages where the action is usually set). The music is uneven but always effective and often splendid. The solo singers are good--particularly Chris Merritt in a very challenging role--and the orchestra and chorus are superb. --Joe McLellanAmazonより In its first video recording, the unfamiliar opera that follows the ultra-familiar overture is presented uncut--four hours of music, which seem shorter thanks to powerful conducting, virtuoso singing, and imaginative staging that often suggests more than it actually shows. Instead of scenery, a sense of time and place is evoked by projections of Swiss scenes on three large screens, and well-used props and costumes (of Rossini's era, not the Middle Ages where the action is usually set). The music is uneven but always effective and often splendid. The solo singers are good--particularly Chris Merritt in a very challenging role--and the orchestra and chorus are superb. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】ラファエル・クーベリック [DVD]

【中古】ラファエル・クーベリック [DVD]【メーカー名】【メーカー型番】【ブランド名】【商品説明】ラファエル・クーベリック [DVD]レビュー 監督: エーケ・ファルク/ヘンリ・コルピ ラファエル・クーベリック指揮 アムステルダム・コンセルトヘボウ管弦楽団,ベルリン・フィルハーモニー管弦楽団 -- 内容（「CDジャーナル」データベースより） Amazonより 音楽的にも視覚的にも、極めて満足度の高い映像である。特にこのディスクの前半、コンセルトヘボウ管弦楽団と1969年に収録したレオノーレ序曲第3番と交響曲第2番は、演奏の良さに加え、演出面での斬新な工夫が加わって、一瞬たりとも目が離せないほどおもしろい。 従来オーケストラを撮った映像は、音楽を感じさせるものではあっても、ほとんどが記録の領分を超えない、常識的なカメラワークに終始するものが多かった。しかし、エーケ・ファルクの演出は、ときには演奏していない楽員の緊張感や笑みにカメラを向けるなど、オーケストラの雰囲気を生き生きと伝えている。レオノーレでの大臣到着を報せるトランペット・ソロの部分では、奏者をひとり別室に移動させて演奏させたり、交響曲第2番でも魚眼レンズのようなものを用いたりヴァイオリン奏者の影だけを映したり、最も驚いたのはレオノーレのコーダで、演奏の白熱に対応して、クーベリックの足元から蒸気のような煙がもうもうと立ち昇るなど、ほとんど実験的なまでの大胆な試みに、よくも演奏者がOKしたものだと感心させられる。第3番《英雄》の映像はこれに較べるとやや普通だが、当時カラヤンがベルリン・フィルと行っていた“楽員の顔を写さない”映像演出に較べると遥かに人間的で、指揮者とオーケストラとの間の雰囲気がよく伝わってくる。 どちらも演奏は、クーベリックならではの男性的ではちきれんばかりの精力にあふれている。たとえば《英雄》冒頭の2つの和音の炸裂など、緊張と衝撃の次元が違う。この上なく充実したベートーヴェンが堪能できる。ホールトーンを適度に入れた録音も素晴らしい。（林田直樹）レビュー 監督: エーケ・ファルク/ヘンリ・コルピ ラファエル・クーベリック指揮 アムステルダム・コンセルトヘボウ管弦楽団,ベルリン・フィルハーモニー管弦楽団 -- 内容（「CDジャーナル」データベースより） Amazonより 音楽的にも視覚的にも、極めて満足度の高い映像である。特にこのディスクの前半、コンセルトヘボウ管弦楽団と1969年に収録したレオノーレ序曲第3番と交響曲第2番は、演奏の良さに加え、演出面での斬新な工夫が加わって、一瞬たりとも目が離せないほどおもしろい。 従来オーケストラを撮った映像は、音楽を感じさせるものではあっても、ほとんどが記録の領分を超えない、常識的なカメラワークに終始するものが多かった。しかし、エーケ・ファルクの演出は、ときには演奏していない楽員の緊張感や笑みにカメラを向けるなど、オーケストラの雰囲気を生き生きと伝えている。レオノーレでの大臣到着を報せるトランペット・ソロの部分では、奏者をひとり別室に移動させて演奏させたり、交響曲第2番でも魚眼レンズのようなものを用いたりヴァイオリン奏者の影だけを映したり、最も驚いたのはレオノーレのコーダで、演奏の白熱に対応して、クーベリックの足元から蒸気のような煙がもうもうと立ち昇るなど、ほとんど実験的なまでの大胆な試みに、よくも演奏者がOKしたものだと感心させられる。第3番《英雄》の映像はこれに較べるとやや普通だが、当時カラヤンがベルリン・フィルと行っていた“楽員の顔を写さない”映像演出に較べると遥かに人間的で、指揮者とオーケストラとの間の雰囲気がよく伝わってくる。 どちらも演奏は、クーベリックならではの男性的ではちきれんばかりの精力にあふれている。たとえば《英雄》冒頭の2つの和音の炸裂など、緊張と衝撃の次元が違う。この上なく充実したベートーヴェンが堪能できる。ホールトーンを適度に入れた録音も素晴らしい。（林田直樹）レビュー 監督: エーケ・ファルク/ヘンリ・コルピ ラファエル・クーベリック指揮 アムステルダム・コンセルトヘボウ管弦楽団,ベルリン・フィルハーモニー管弦楽団 -- 内容（「CDジャーナル」データベースより） Amazonより 音楽的にも視覚的にも、極めて満足度の高い映像である。特にこのディスクの前半、コンセルトヘボウ管弦楽団と1969年に収録したレオノーレ序曲第3番と交響曲第2番は、演奏の良さに加え、演出面での斬新な工夫が加わって、一瞬たりとも目が離せないほどおもしろい。 従来オーケストラを撮った映像は、音楽を感じさせるものではあっても、ほとんどが記録の領分を超えない、常識的なカメラワークに終始するものが多かった。しかし、エーケ・ファルクの演出は、ときには演奏していない楽員の緊張感や笑みにカメラを向けるなど、オーケストラの雰囲気を生き生きと伝えている。レオノーレでの大臣到着を報せるトランペット・ソロの部分では、奏者をひとり別室に移動させて演奏させたり、交響曲第2番でも魚眼レンズのようなものを用いたりヴァイオリン奏者の影だけを映したり、最も驚いたのはレオノーレのコーダで、演奏の白熱に対応して、クーベリックの足元から蒸気のような煙がもうもうと立ち昇るなど、ほとんど実験的なまでの大胆な試みに、よくも演奏者がOKしたものだと感心させられる。第3番《英雄》の映像はこれに較べるとやや普通だが、当時カラヤンがベルリン・フィルと行っていた“楽員の顔を写さない”映像演出に較べると遥かに人間的で、指揮者とオーケストラとの間の雰囲気がよく伝わってくる。 どちらも演奏は、クーベリックならではの男性的ではちきれんばかりの精力にあふれている。たとえば《英雄》冒頭の2つの和音の炸裂など、緊張と衝撃の次元が違う。この上なく充実したベートーヴェンが堪能できる。ホールトーンを適度に入れた録音も素晴らしい。（林田直樹）レビュー 監督: エーケ・ファルク/ヘンリ・コルピ ラファエル・クーベリック指揮 アムステルダム・コンセルトヘボウ管弦楽団,ベルリン・フィルハーモニー管弦楽団 -- 内容（「CDジャーナル」データベースより） Amazonより 音楽的にも視覚的にも、極めて満足度の高い映像である。特にこのディスクの前半、コンセルトヘボウ管弦楽団と1969年に収録したレオノーレ序曲第3番と交響曲第2番は、演奏の良さに加え、演出面での斬新な工夫が加わって、一瞬たりとも目が離せないほどおもしろい。 従来オーケストラを撮った映像は、音楽を感じさせるものではあっても、ほとんどが記録の領分を超えない、常識的なカメラワークに終始するものが多かった。しかし、エーケ・ファルクの演出は、ときには演奏していない楽員の緊張感や笑みにカメラを向けるなど、オーケストラの雰囲気を生き生きと伝えている。レオノーレでの大臣到着を報せるトランペット・ソロの部分では、奏者をひとり別室に移動させて演奏させたり、交響曲第2番でも魚眼レンズのようなものを用いたりヴァイオリン奏者の影だけを映したり、最も驚いたのはレオノーレのコーダで、演奏の白熱に対応して、クーベリックの足元から蒸気のような煙がもうもうと立ち昇るなど、ほとんど実験的なまでの大胆な試みに、よくも演奏者がOKしたものだと感心させられる。第3番《英雄》の映像はこれに較べるとやや普通だが、当時カラヤンがベルリン・フィルと行っていた“楽員の顔を写さない”映像演出に較べると遥かに人間的で、指揮者とオーケストラとの間の雰囲気がよく伝わってくる。 どちらも演奏は、クーベリックならではの男性的ではちきれんばかりの精力にあふれている。たとえば《英雄》冒頭の2つの和音の炸裂など、緊張と衝撃の次元が違う。この上なく充実したベートーヴェンが堪能できる。ホールトーンを適度に入れた録音も素晴らしい。（林田直樹）中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Purcell - Dido and Aeneas / Mark Morris Dance Group [DVD] [Import]

【中古】Purcell - Dido and Aeneas / Mark Morris Dance Group [DVD] [Import]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment バレエ Purcell: Artist; Lane: Artist; Morris: Artist【商品説明】Purcell - Dido and Aeneas / Mark Morris Dance Group [DVD] [Import]Amazonより Ancient and modern elements are oddly but beautifully blended in this production, which presents a cutting-edge modern dance interpretation of the oldest English opera still in the active repertoire, Dido and Aeneas. Purcell took his subject from The Aeneid, Virgil's Latin epic about the destruction of Troy and the founding of Rome by a party of refugees from the fallen city. In the episode chosen by Purcell (by far the best-known in the lengthy poem), Aeneas, leader of the Trojan refugees, lands at Carthage, falls in love with the city's widowed Queen Dido, but goes on to fulfill his destiny in Italy while the abandoned queen commits suicide. Tafelmusik, an excellent Canadian chamber orchestra, performs baroque music with the distinctive sound of period instruments. Mezzo-soprano Jennifer Lane sings the dual roles of Dido and the jealous sorceress whose spells destroy the queen's liaison with Aeneas. These roles are both danced by Mark Morris. The video production gives occasional glimpses of singers, but the overwhelming emphasis is, rightly, on the dancing. Morris is equally impressive as a solo dancer and a choreographer. He has given his ensemble a strikingly expressive choreographic vocabulary, with gestures that are rooted in spontaneous body language and frequently call to mind ancient Greco-Roman visual arts. He is one of the relatively few choreographers who actually listen to the music and translate it precisely into stage action. His treatment of Dido and Aeneas is a classic, and the film directing of Barbara Willis Sweete preserves its classic qualities. --Joe McLellanAmazonより Ancient and modern elements are oddly but beautifully blended in this production, which presents a cutting-edge modern dance interpretation of the oldest English opera still in the active repertoire, Dido and Aeneas. Purcell took his subject from The Aeneid, Virgil's Latin epic about the destruction of Troy and the founding of Rome by a party of refugees from the fallen city. In the episode chosen by Purcell (by far the best-known in the lengthy poem), Aeneas, leader of the Trojan refugees, lands at Carthage, falls in love with the city's widowed Queen Dido, but goes on to fulfill his destiny in Italy while the abandoned queen commits suicide. Tafelmusik, an excellent Canadian chamber orchestra, performs baroque music with the distinctive sound of period instruments. Mezzo-soprano Jennifer Lane sings the dual roles of Dido and the jealous sorceress whose spells destroy the queen's liaison with Aeneas. These roles are both danced by Mark Morris. The video production gives occasional glimpses of singers, but the overwhelming emphasis is, rightly, on the dancing. Morris is equally impressive as a solo dancer and a choreographer. He has given his ensemble a strikingly expressive choreographic vocabulary, with gestures that are rooted in spontaneous body language and frequently call to mind ancient Greco-Roman visual arts. He is one of the relatively few choreographers who actually listen to the music and translate it precisely into stage action. His treatment of Dido and Aeneas is a classic, and the film directing of Barbara Willis Sweete preserves its classic qualities. --Joe McLellanAmazonより Ancient and modern elements are oddly but beautifully blended in this production, which presents a cutting-edge modern dance interpretation of the oldest English opera still in the active repertoire, Dido and Aeneas. Purcell took his subject from The Aeneid, Virgil's Latin epic about the destruction of Troy and the founding of Rome by a party of refugees from the fallen city. In the episode chosen by Purcell (by far the best-known in the lengthy poem), Aeneas, leader of the Trojan refugees, lands at Carthage, falls in love with the city's widowed Queen Dido, but goes on to fulfill his destiny in Italy while the abandoned queen commits suicide. Tafelmusik, an excellent Canadian chamber orchestra, performs baroque music with the distinctive sound of period instruments. Mezzo-soprano Jennifer Lane sings the dual roles of Dido and the jealous sorceress whose spells destroy the queen's liaison with Aeneas. These roles are both danced by Mark Morris. The video production gives occasional glimpses of singers, but the overwhelming emphasis is, rightly, on the dancing. Morris is equally impressive as a solo dancer and a choreographer. He has given his ensemble a strikingly expressive choreographic vocabulary, with gestures that are rooted in spontaneous body language and frequently call to mind ancient Greco-Roman visual arts. He is one of the relatively few choreographers who actually listen to the music and translate it precisely into stage action. His treatment of Dido and Aeneas is a classic, and the film directing of Barbara Willis Sweete preserves its classic qualities. --Joe McLellanAmazonより Ancient and modern elements are oddly but beautifully blended in this production, which presents a cutting-edge modern dance interpretation of the oldest English opera still in the active repertoire, Dido and Aeneas. Purcell took his subject from The Aeneid, Virgil's Latin epic about the destruction of Troy and the founding of Rome by a party of refugees from the fallen city. In the episode chosen by Purcell (by far the best-known in the lengthy poem), Aeneas, leader of the Trojan refugees, lands at Carthage, falls in love with the city's widowed Queen Dido, but goes on to fulfill his destiny in Italy while the abandoned queen commits suicide. Tafelmusik, an excellent Canadian chamber orchestra, performs baroque music with the distinctive sound of period instruments. Mezzo-soprano Jennifer Lane sings the dual roles of Dido and the jealous sorceress whose spells destroy the queen's liaison with Aeneas. These roles are both danced by Mark Morris. The video production gives occasional glimpses of singers, but the overwhelming emphasis is, rightly, on the dancing. Morris is equally impressive as a solo dancer and a choreographer. He has given his ensemble a strikingly expressive choreographic vocabulary, with gestures that are rooted in spontaneous body language and frequently call to mind ancient Greco-Roman visual arts. He is one of the relatively few choreographers who actually listen to the music and translate it precisely into stage action. His treatment of Dido and Aeneas is a classic, and the film directing of Barbara Willis Sweete preserves its classic qualities. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Symphony 29 in a Major / Il Signor Bruschino [DVD]

【中古】Symphony 29 in a Major / Il Signor Bruschino [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment 交響曲・管弦楽曲 Patrick Fournillier: Actor; Patrick Fournillier: Cast Member【商品説明】Symphony 29 in a Major / Il Signor Bruschino [DVD]Amazonより Here's a surprise. A little-known French regional orchestra playing Mozart and Rossini with real enthusiasm, tight ensemble, and a thoroughly appropriate light and sparkling sound. These live performances from the 1990 Pablo Casals Festival are completely enjoyable. The two symphonies are full of spirit. The strings play cleanly together and the wind balance is just right. The interpretations by Patrick Fournillier have that desirable mixture of intensity and dancelike ease; especially in the G minor symphony, which too often becomes an overblown angst-fest. The horn soloist, Radovan Vlatkovic, does an excellent job with the Third Concerto--musically tasteful, technically polished, and with a beautiful sound that never even threatens to become brassy. Rossini's Il Signor Bruschino overture is clean as a whistle and effervescent as a bottle of champagne, and has crescendos that actually keep getting bigger instead of peaking early and losing steam. The cameras move around but not too much. Mr. Fournillier is of the closed-eyes, open-mouthed, slightly pained expression style of conducting, but to balance it out he sure can bounce around. Many of the string players are easy on the eye. The St. Michel de Cuxa Abbey, where the concert was played, looks a bit strange--large enough to dwarf the orchestra, lit with an eerie orange glow, and constructed of stone walls that, when used as a frame for stationary musicians, tend to be reminiscent of an execution by firing squad. Even so, it's a pretty good disc. --Seth KrimskyAmazonより Here's a surprise. A little-known French regional orchestra playing Mozart and Rossini with real enthusiasm, tight ensemble, and a thoroughly appropriate light and sparkling sound. These live performances from the 1990 Pablo Casals Festival are completely enjoyable. The two symphonies are full of spirit. The strings play cleanly together and the wind balance is just right. The interpretations by Patrick Fournillier have that desirable mixture of intensity and dancelike ease; especially in the G minor symphony, which too often becomes an overblown angst-fest. The horn soloist, Radovan Vlatkovic, does an excellent job with the Third Concerto--musically tasteful, technically polished, and with a beautiful sound that never even threatens to become brassy. Rossini's Il Signor Bruschino overture is clean as a whistle and effervescent as a bottle of champagne, and has crescendos that actually keep getting bigger instead of peaking early and losing steam. The cameras move around but not too much. Mr. Fournillier is of the closed-eyes, open-mouthed, slightly pained expression style of conducting, but to balance it out he sure can bounce around. Many of the string players are easy on the eye. The St. Michel de Cuxa Abbey, where the concert was played, looks a bit strange--large enough to dwarf the orchestra, lit with an eerie orange glow, and constructed of stone walls that, when used as a frame for stationary musicians, tend to be reminiscent of an execution by firing squad. Even so, it's a pretty good disc. --Seth KrimskyAmazonより Here's a surprise. A little-known French regional orchestra playing Mozart and Rossini with real enthusiasm, tight ensemble, and a thoroughly appropriate light and sparkling sound. These live performances from the 1990 Pablo Casals Festival are completely enjoyable. The two symphonies are full of spirit. The strings play cleanly together and the wind balance is just right. The interpretations by Patrick Fournillier have that desirable mixture of intensity and dancelike ease; especially in the G minor symphony, which too often becomes an overblown angst-fest. The horn soloist, Radovan Vlatkovic, does an excellent job with the Third Concerto--musically tasteful, technically polished, and with a beautiful sound that never even threatens to become brassy. Rossini's Il Signor Bruschino overture is clean as a whistle and effervescent as a bottle of champagne, and has crescendos that actually keep getting bigger instead of peaking early and losing steam. The cameras move around but not too much. Mr. Fournillier is of the closed-eyes, open-mouthed, slightly pained expression style of conducting, but to balance it out he sure can bounce around. Many of the string players are easy on the eye. The St. Michel de Cuxa Abbey, where the concert was played, looks a bit strange--large enough to dwarf the orchestra, lit with an eerie orange glow, and constructed of stone walls that, when used as a frame for stationary musicians, tend to be reminiscent of an execution by firing squad. Even so, it's a pretty good disc. --Seth KrimskyAmazonより Here's a surprise. A little-known French regional orchestra playing Mozart and Rossini with real enthusiasm, tight ensemble, and a thoroughly appropriate light and sparkling sound. These live performances from the 1990 Pablo Casals Festival are completely enjoyable. The two symphonies are full of spirit. The strings play cleanly together and the wind balance is just right. The interpretations by Patrick Fournillier have that desirable mixture of intensity and dancelike ease; especially in the G minor symphony, which too often becomes an overblown angst-fest. The horn soloist, Radovan Vlatkovic, does an excellent job with the Third Concerto--musically tasteful, technically polished, and with a beautiful sound that never even threatens to become brassy. Rossini's Il Signor Bruschino overture is clean as a whistle and effervescent as a bottle of champagne, and has crescendos that actually keep getting bigger instead of peaking early and losing steam. The cameras move around but not too much. Mr. Fournillier is of the closed-eyes, open-mouthed, slightly pained expression style of conducting, but to balance it out he sure can bounce around. Many of the string players are easy on the eye. The St. Michel de Cuxa Abbey, where the concert was played, looks a bit strange--large enough to dwarf the orchestra, lit with an eerie orange glow, and constructed of stone walls that, when used as a frame for stationary musicians, tend to be reminiscent of an execution by firing squad. Even so, it's a pretty good disc. --Seth Krimsky中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Sounds Magnificent: Symphony 5 & 7 [DVD]

【中古】Sounds Magnificent: Symphony 5 & 7 [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment 交響曲・管弦楽曲 Beethoven: Artist; Previn: Artist【商品説明】Sounds Magnificent: Symphony 5 & 7 [DVD]Amazonより Andr? Previn's 1984 BBC series chronicling the development of the symphony moves onward to Beethoven. More explicitly musicological in intent than its Haydn/Mozart installment, the program nonetheless remains pitched for the interested layperson; while there's brief mention made of intervals and transpositions, nothing is brought up that would go over the head of even the least informed novice. Previn's laid-back, easy-going manner--informative but not pedagogic, staring comfortably into the camera wearing a Mr. Rogers sweater and a "Well, isn't that interesting?" expression--is suited to this informal lecture style. There's a brief examination of Beethoven's personal struggles, mostly gleaned through reading bits of the Heiligenstadt Testament (a letter written to Beethoven's brothers, unsent and found among his papers after his death; see Maynard Solomon's psychoanalytically inclined Beethoven biography for a fascinating analysis). Rather more time is spent, appropriately, on the music itself: a few examples demonstrate the composer's debt to Mozart and thus place his genius in context; several well-chosen snippets deftly illustrate the Fifth Symphony's unprecedented organic structure. After the talk, Previn and the Royal Philharmonic have time to perform only the opening movement of the Fifth and deliver a fine, professional run-through, which many will find enhanced by the preceding analysis. The Seventh is given a complete reading; oddly, considering he quotes with approval Wagner's assessment of the symphony as the "Apotheosis of the Dance," Previn's greatest failing here is rhythmic. This is an enjoyable reading, but far too genial and cozy. The Allegretto fails to drive forward; the concluding Allegro con brio lacks the whirling abandon that prompted Wagner's comment. It's possible, at least when it comes to Beethoven, to be too laid-back and easy-going. --Bruce ReidAmazonより Andr? Previn's 1984 BBC series chronicling the development of the symphony moves onward to Beethoven. More explicitly musicological in intent than its Haydn/Mozart installment, the program nonetheless remains pitched for the interested layperson; while there's brief mention made of intervals and transpositions, nothing is brought up that would go over the head of even the least informed novice. Previn's laid-back, easy-going manner--informative but not pedagogic, staring comfortably into the camera wearing a Mr. Rogers sweater and a "Well, isn't that interesting?" expression--is suited to this informal lecture style. There's a brief examination of Beethoven's personal struggles, mostly gleaned through reading bits of the Heiligenstadt Testament (a letter written to Beethoven's brothers, unsent and found among his papers after his death; see Maynard Solomon's psychoanalytically inclined Beethoven biography for a fascinating analysis). Rather more time is spent, appropriately, on the music itself: a few examples demonstrate the composer's debt to Mozart and thus place his genius in context; several well-chosen snippets deftly illustrate the Fifth Symphony's unprecedented organic structure. After the talk, Previn and the Royal Philharmonic have time to perform only the opening movement of the Fifth and deliver a fine, professional run-through, which many will find enhanced by the preceding analysis. The Seventh is given a complete reading; oddly, considering he quotes with approval Wagner's assessment of the symphony as the "Apotheosis of the Dance," Previn's greatest failing here is rhythmic. This is an enjoyable reading, but far too genial and cozy. The Allegretto fails to drive forward; the concluding Allegro con brio lacks the whirling abandon that prompted Wagner's comment. It's possible, at least when it comes to Beethoven, to be too laid-back and easy-going. --Bruce ReidAmazonより Andr? Previn's 1984 BBC series chronicling the development of the symphony moves onward to Beethoven. More explicitly musicological in intent than its Haydn/Mozart installment, the program nonetheless remains pitched for the interested layperson; while there's brief mention made of intervals and transpositions, nothing is brought up that would go over the head of even the least informed novice. Previn's laid-back, easy-going manner--informative but not pedagogic, staring comfortably into the camera wearing a Mr. Rogers sweater and a "Well, isn't that interesting?" expression--is suited to this informal lecture style. There's a brief examination of Beethoven's personal struggles, mostly gleaned through reading bits of the Heiligenstadt Testament (a letter written to Beethoven's brothers, unsent and found among his papers after his death; see Maynard Solomon's psychoanalytically inclined Beethoven biography for a fascinating analysis). Rather more time is spent, appropriately, on the music itself: a few examples demonstrate the composer's debt to Mozart and thus place his genius in context; several well-chosen snippets deftly illustrate the Fifth Symphony's unprecedented organic structure. After the talk, Previn and the Royal Philharmonic have time to perform only the opening movement of the Fifth and deliver a fine, professional run-through, which many will find enhanced by the preceding analysis. The Seventh is given a complete reading; oddly, considering he quotes with approval Wagner's assessment of the symphony as the "Apotheosis of the Dance," Previn's greatest failing here is rhythmic. This is an enjoyable reading, but far too genial and cozy. The Allegretto fails to drive forward; the concluding Allegro con brio lacks the whirling abandon that prompted Wagner's comment. It's possible, at least when it comes to Beethoven, to be too laid-back and easy-going. --Bruce ReidAmazonより Andr? Previn's 1984 BBC series chronicling the development of the symphony moves onward to Beethoven. More explicitly musicological in intent than its Haydn/Mozart installment, the program nonetheless remains pitched for the interested layperson; while there's brief mention made of intervals and transpositions, nothing is brought up that would go over the head of even the least informed novice. Previn's laid-back, easy-going manner--informative but not pedagogic, staring comfortably into the camera wearing a Mr. Rogers sweater and a "Well, isn't that interesting?" expression--is suited to this informal lecture style. There's a brief examination of Beethoven's personal struggles, mostly gleaned through reading bits of the Heiligenstadt Testament (a letter written to Beethoven's brothers, unsent and found among his papers after his death; see Maynard Solomon's psychoanalytically inclined Beethoven biography for a fascinating analysis). Rather more time is spent, appropriately, on the music itself: a few examples demonstrate the composer's debt to Mozart and thus place his genius in context; several well-chosen snippets deftly illustrate the Fifth Symphony's unprecedented organic structure. After the talk, Previn and the Royal Philharmonic have time to perform only the opening movement of the Fifth and deliver a fine, professional run-through, which many will find enhanced by the preceding analysis. The Seventh is given a complete reading; oddly, considering he quotes with approval Wagner's assessment of the symphony as the "Apotheosis of the Dance," Previn's greatest failing here is rhythmic. This is an enjoyable reading, but far too genial and cozy. The Allegretto fails to drive forward; the concluding Allegro con brio lacks the whirling abandon that prompted Wagner's comment. It's possible, at least when it comes to Beethoven, to be too laid-back and easy-going. --Bruce Reid中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Shirley Temple: Little Darling Pack / [DVD]

【中古】Shirley Temple: Little Darling Pack / [DVD]【メーカー名】【メーカー型番】【ブランド名】【商品説明】Shirley Temple: Little Darling Pack / [DVD]Amazonより Shirley Temple's superstardom in the 1930s was associated with Twentieth Century Fox, but before Fox locked her down she made the two films for Paramount bundled here. It was 1934, her breakthrough year, and these pictures are not quite yet the showcase vehicles Fox would assemble for their pint-sized meal ticket. In Little Miss Marker, Shirley comes under the wing of Sorrowful Jones (Adolphe Menjou in good form), as Damon Runyon's world of bookies and gamblers and soft-hearted gangsters comes to life around her. It's a heartstring-tugger of an expert kind; Shirley's final line, delivered in an operating room, should have grown men weeping on their knees. Henry Hathaway's Now and Forever casts Gary Cooper and Carole Lombard as world-traveling con artists, suddenly forced to grow up when Coop decides to take charge of his daughter. The lure of diamonds and the easy life is never far away, but rely on Shirley to keep her Daddy on his toes. The dimpled Ms. Temple plays a distinctly supporting role in this one, and her singing and dancing is limited compared to the vehicles she would command within the year. Cooper is all charm, although Lombard is stuck in something of a nag role. Still, a solid enough studio picture of the era, and a logical launching pad for the greatest child star in film history. --Robert HortonAmazonより Shirley Temple's superstardom in the 1930s was associated with Twentieth Century Fox, but before Fox locked her down she made the two films for Paramount bundled here. It was 1934, her breakthrough year, and these pictures are not quite yet the showcase vehicles Fox would assemble for their pint-sized meal ticket. In Little Miss Marker, Shirley comes under the wing of Sorrowful Jones (Adolphe Menjou in good form), as Damon Runyon's world of bookies and gamblers and soft-hearted gangsters comes to life around her. It's a heartstring-tugger of an expert kind; Shirley's final line, delivered in an operating room, should have grown men weeping on their knees. Henry Hathaway's Now and Forever casts Gary Cooper and Carole Lombard as world-traveling con artists, suddenly forced to grow up when Coop decides to take charge of his daughter. The lure of diamonds and the easy life is never far away, but rely on Shirley to keep her Daddy on his toes. The dimpled Ms. Temple plays a distinctly supporting role in this one, and her singing and dancing is limited compared to the vehicles she would command within the year. Cooper is all charm, although Lombard is stuck in something of a nag role. Still, a solid enough studio picture of the era, and a logical launching pad for the greatest child star in film history. --Robert HortonAmazonより Shirley Temple's superstardom in the 1930s was associated with Twentieth Century Fox, but before Fox locked her down she made the two films for Paramount bundled here. It was 1934, her breakthrough year, and these pictures are not quite yet the showcase vehicles Fox would assemble for their pint-sized meal ticket. In Little Miss Marker, Shirley comes under the wing of Sorrowful Jones (Adolphe Menjou in good form), as Damon Runyon's world of bookies and gamblers and soft-hearted gangsters comes to life around her. It's a heartstring-tugger of an expert kind; Shirley's final line, delivered in an operating room, should have grown men weeping on their knees. Henry Hathaway's Now and Forever casts Gary Cooper and Carole Lombard as world-traveling con artists, suddenly forced to grow up when Coop decides to take charge of his daughter. The lure of diamonds and the easy life is never far away, but rely on Shirley to keep her Daddy on his toes. The dimpled Ms. Temple plays a distinctly supporting role in this one, and her singing and dancing is limited compared to the vehicles she would command within the year. Cooper is all charm, although Lombard is stuck in something of a nag role. Still, a solid enough studio picture of the era, and a logical launching pad for the greatest child star in film history. --Robert HortonAmazonより Shirley Temple's superstardom in the 1930s was associated with Twentieth Century Fox, but before Fox locked her down she made the two films for Paramount bundled here. It was 1934, her breakthrough year, and these pictures are not quite yet the showcase vehicles Fox would assemble for their pint-sized meal ticket. In Little Miss Marker, Shirley comes under the wing of Sorrowful Jones (Adolphe Menjou in good form), as Damon Runyon's world of bookies and gamblers and soft-hearted gangsters comes to life around her. It's a heartstring-tugger of an expert kind; Shirley's final line, delivered in an operating room, should have grown men weeping on their knees. Henry Hathaway's Now and Forever casts Gary Cooper and Carole Lombard as world-traveling con artists, suddenly forced to grow up when Coop decides to take charge of his daughter. The lure of diamonds and the easy life is never far away, but rely on Shirley to keep her Daddy on his toes. The dimpled Ms. Temple plays a distinctly supporting role in this one, and her singing and dancing is limited compared to the vehicles she would command within the year. Cooper is all charm, although Lombard is stuck in something of a nag role. Still, a solid enough studio picture of the era, and a logical launching pad for the greatest child star in film history. --Robert HortonAmazonより Shirley Temple's superstardom in the 1930s was associated with Twentieth Century Fox, but before Fox locked her down she made the two films for Paramount bundled here. It was 1934, her breakthrough year, and these pictures are not quite yet the showcase vehicles Fox would assemble for their pint-sized meal ticket. In Little Miss Marker, Shirley comes under the wing of Sorrowful Jones (Adolphe Menjou in good form), as Damon Runyon's world of bookies and gamblers and soft-hearted gangsters comes to life around her. It's a heartstring-tugger of an expert kind; Shirley's final line, delivered in an operating room, should have grown men weeping on their knees. Henry Hathaway's Now and Forever casts Gary Cooper and Carole Lombard as world-traveling con artists, suddenly forced to grow up when Coop decides to take charge of his daughter. The lure of diamonds and the easy life is never far away, but rely on Shirley to keep her Daddy on his toes. The dimpled Ms. Temple plays a distinctly supporting role in this one, and her singing and dancing is limited compared to the vehicles she would command within the year. Cooper is all charm, although Lombard is stuck in something of a nag role. Still, a solid enough studio picture of the era, and a logical launching pad for the greatest child star in film history. --Robert Horton中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】La Dona Del Lago [DVD]

【中古】La Dona Del Lago [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment オペラ・声楽 Rossini: Artist; Anderson: Artist; Blake: Artist; Merritt: Artist; Muti: Artist; Lsct: Artist【商品説明】La Dona Del Lago [DVD]Amazonより La Donna del Lago, based on Sir Walter Scott's long narrative poem "The Lady of the Lake" about military conflicts and lovers' problems in feudal Scotland, is one of Rossini's best operas. It is not performed as often as it deserves, and this video production (not problem-free) may be the only one available for quite a while. Fans of Rossini will find it worth playing. Like most opera videos, it was recorded in a live performance, including audience applause in which viewers may or may not wish to join. Live recordings can have a spontaneity not always heard in studio work, but small vocal problems--particularly near the beginning when voices are warming up--go uncorrected. The singing often needs to be spectacular, and it usually is once the solo voices have settled down, but you have to make a few allowances. In many scenes, the lighting is quite dim, but the chorus and orchestra are splendid. --Joe McLellanAmazonより La Donna del Lago, based on Sir Walter Scott's long narrative poem "The Lady of the Lake" about military conflicts and lovers' problems in feudal Scotland, is one of Rossini's best operas. It is not performed as often as it deserves, and this video production (not problem-free) may be the only one available for quite a while. Fans of Rossini will find it worth playing. Like most opera videos, it was recorded in a live performance, including audience applause in which viewers may or may not wish to join. Live recordings can have a spontaneity not always heard in studio work, but small vocal problems--particularly near the beginning when voices are warming up--go uncorrected. The singing often needs to be spectacular, and it usually is once the solo voices have settled down, but you have to make a few allowances. In many scenes, the lighting is quite dim, but the chorus and orchestra are splendid. --Joe McLellanAmazonより La Donna del Lago, based on Sir Walter Scott's long narrative poem "The Lady of the Lake" about military conflicts and lovers' problems in feudal Scotland, is one of Rossini's best operas. It is not performed as often as it deserves, and this video production (not problem-free) may be the only one available for quite a while. Fans of Rossini will find it worth playing. Like most opera videos, it was recorded in a live performance, including audience applause in which viewers may or may not wish to join. Live recordings can have a spontaneity not always heard in studio work, but small vocal problems--particularly near the beginning when voices are warming up--go uncorrected. The singing often needs to be spectacular, and it usually is once the solo voices have settled down, but you have to make a few allowances. In many scenes, the lighting is quite dim, but the chorus and orchestra are splendid. --Joe McLellanAmazonより La Donna del Lago, based on Sir Walter Scott's long narrative poem "The Lady of the Lake" about military conflicts and lovers' problems in feudal Scotland, is one of Rossini's best operas. It is not performed as often as it deserves, and this video production (not problem-free) may be the only one available for quite a while. Fans of Rossini will find it worth playing. Like most opera videos, it was recorded in a live performance, including audience applause in which viewers may or may not wish to join. Live recordings can have a spontaneity not always heard in studio work, but small vocal problems--particularly near the beginning when voices are warming up--go uncorrected. The singing often needs to be spectacular, and it usually is once the solo voices have settled down, but you have to make a few allowances. In many scenes, the lighting is quite dim, but the chorus and orchestra are splendid. --Joe McLellanAmazonより La Donna del Lago, based on Sir Walter Scott's long narrative poem "The Lady of the Lake" about military conflicts and lovers' problems in feudal Scotland, is one of Rossini's best operas. It is not performed as often as it deserves, and this video production (not problem-free) may be the only one available for quite a while. Fans of Rossini will find it worth playing. Like most opera videos, it was recorded in a live performance, including audience applause in which viewers may or may not wish to join. Live recordings can have a spontaneity not always heard in studio work, but small vocal problems--particularly near the beginning when voices are warming up--go uncorrected. The singing often needs to be spectacular, and it usually is once the solo voices have settled down, but you have to make a few allowances. In many scenes, the lighting is quite dim, but the chorus and orchestra are splendid. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Verdi: La Traviata (2pc) (Ltd Dlx Dig) [DVD]

【中古】Verdi: La Traviata (2pc) (Ltd Dlx Dig) [DVD]【メーカー名】【メーカー型番】【ブランド名】【商品説明】Verdi: La Traviata (2pc) (Ltd Dlx Dig) [DVD]Amazonより La Traviata stands or falls on its lead singers and in Anna Netrebko and Rolando Villazon this 2005 Salzburg Festival performance has a pair whose electric interactions and brilliant singing are irresistible. If Netrebko can't quite provide the vocal bloom of the great Violettas of the past, hers is a lovely voice used with intelligence and dramatic intensity and she has the coloratura chops to deliver her Act I showpieces with flair. Villazon's tenor has ping on top, terrific color, and an impressive range of rubato, dynamic shadings, and interesting phrasing that makes Alfredo's music sound newly minted. The Germont is Thomas Hampson, no Verdi baritone but an astute singer and actor. Chorus and smaller roles are fine, the orchestra first-rate. Carlo Rizzi has odd notions about the music (usually too fast, sometimes way too slow) but this Traviata triumphs despite his conducting. Willy Decker's controversial production features stark sets on a curved white stage, spare furnishings, and an overlay of symbolic devices: the figure of Death stalks Violetta in every act, a huge clock shows her time running out and becomes a focus for stage action, even turning into Act II's card table. The singers run, dance, and spend a lot of time on their knees or backs. Color schemes bathe Violetta's courtesan period in bold red, her idyll with Alfredo in flower prints. And there's more along those lines. Even those who usually prefer more conservative productions should find Willy Decker's staging absolutely riveting. Much of the action goes on inside the characters' heads, making this superficially extrovert opera an interior drama that sheds new light on its possibilities. Love or hate the production, you won't want to miss this Traviata for the leads and for staging that must be taken seriously. A bonus disc includes an interesting rehearsal. --Dan DavisAmazonより La Traviata stands or falls on its lead singers and in Anna Netrebko and Rolando Villazon this 2005 Salzburg Festival performance has a pair whose electric interactions and brilliant singing are irresistible. If Netrebko can't quite provide the vocal bloom of the great Violettas of the past, hers is a lovely voice used with intelligence and dramatic intensity and she has the coloratura chops to deliver her Act I showpieces with flair. Villazon's tenor has ping on top, terrific color, and an impressive range of rubato, dynamic shadings, and interesting phrasing that makes Alfredo's music sound newly minted. The Germont is Thomas Hampson, no Verdi baritone but an astute singer and actor. Chorus and smaller roles are fine, the orchestra first-rate. Carlo Rizzi has odd notions about the music (usually too fast, sometimes way too slow) but this Traviata triumphs despite his conducting. Willy Decker's controversial production features stark sets on a curved white stage, spare furnishings, and an overlay of symbolic devices: the figure of Death stalks Violetta in every act, a huge clock shows her time running out and becomes a focus for stage action, even turning into Act II's card table. The singers run, dance, and spend a lot of time on their knees or backs. Color schemes bathe Violetta's courtesan period in bold red, her idyll with Alfredo in flower prints. And there's more along those lines. Even those who usually prefer more conservative productions should find Willy Decker's staging absolutely riveting. Much of the action goes on inside the characters' heads, making this superficially extrovert opera an interior drama that sheds new light on its possibilities. Love or hate the production, you won't want to miss this Traviata for the leads and for staging that must be taken seriously. A bonus disc includes an interesting rehearsal. --Dan DavisAmazonより La Traviata stands or falls on its lead singers and in Anna Netrebko and Rolando Villazon this 2005 Salzburg Festival performance has a pair whose electric interactions and brilliant singing are irresistible. If Netrebko can't quite provide the vocal bloom of the great Violettas of the past, hers is a lovely voice used with intelligence and dramatic intensity and she has the coloratura chops to deliver her Act I showpieces with flair. Villazon's tenor has ping on top, terrific color, and an impressive range of rubato, dynamic shadings, and interesting phrasing that makes Alfredo's music sound newly minted. The Germont is Thomas Hampson, no Verdi baritone but an astute singer and actor. Chorus and smaller roles are fine, the orchestra first-rate. Carlo Rizzi has odd notions about the music (usually too fast, sometimes way too slow) but this Traviata triumphs despite his conducting. Willy Decker's controversial production features stark sets on a curved white stage, spare furnishings, and an overlay of symbolic devices: the figure of Death stalks Violetta in every act, a huge clock shows her time running out and becomes a focus for stage action, even turning into Act II's card table. The singers run, dance, and spend a lot of time on their knees or backs. Color schemes bathe Violetta's courtesan period in bold red, her idyll with Alfredo in flower prints. And there's more along those lines. Even those who usually prefer more conservative productions should find Willy Decker's staging absolutely riveting. Much of the action goes on inside the characters' heads, making this superficially extrovert opera an interior drama that sheds new light on its possibilities. Love or hate the production, you won't want to miss this Traviata for the leads and for staging that must be taken seriously. A bonus disc includes an interesting rehearsal. --Dan DavisAmazonより La Traviata stands or falls on its lead singers and in Anna Netrebko and Rolando Villazon this 2005 Salzburg Festival performance has a pair whose electric interactions and brilliant singing are irresistible. If Netrebko can't quite provide the vocal bloom of the great Violettas of the past, hers is a lovely voice used with intelligence and dramatic intensity and she has the coloratura chops to deliver her Act I showpieces with flair. Villazon's tenor has ping on top, terrific color, and an impressive range of rubato, dynamic shadings, and interesting phrasing that makes Alfredo's music sound newly minted. The Germont is Thomas Hampson, no Verdi baritone but an astute singer and actor. Chorus and smaller roles are fine, the orchestra first-rate. Carlo Rizzi has odd notions about the music (usually too fast, sometimes way too slow) but this Traviata triumphs despite his conducting. Willy Decker's controversial production features stark sets on a curved white stage, spare furnishings, and an overlay of symbolic devices: the figure of Death stalks Violetta in every act, a huge clock shows her time running out and becomes a focus for stage action, even turning into Act II's card table. The singers run, dance, and spend a lot of time on their knees or backs. Color schemes bathe Violetta's courtesan period in bold red, her idyll with Alfredo in flower prints. And there's more along those lines. Even those who usually prefer more conservative productions should find Willy Decker's staging absolutely riveting. Much of the action goes on inside the characters' heads, making this superficially extrovert opera an interior drama that sheds new light on its possibilities. Love or hate the production, you won't want to miss this Traviata for the leads and for staging that must be taken seriously. A bonus disc includes an interesting rehearsal. --Dan Davis中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Handel - The Messiah / Kantorow, Dietschy, Tantcheff, Auvergne Orchestra [DVD] [Import]

【中古】Handel - The Messiah / Kantorow, Dietschy, Tantcheff, Auvergne Orchestra [DVD] [Import]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment 交響曲・管弦楽曲, スポーツ・フィットネス V?ronique Dietschy: Actor; Eliane Tancheff: Actor; Alexandre Laiter: Actor; Thomas Tomaschke: Actor; Jean-Jacques Kantorow: Actor; Georges Bessonnet: Director; Charles Jennens: Writer【商品説明】Handel - The Messiah / Kantorow, Dietschy, Tantcheff, Auvergne Orchestra [DVD] [Import]Amazonより Handel's most popular oratorio is not a major part of Christmas celebrations in France, as it is in English-speaking countries, and that makes the fine performance by these French choral singers all the more impressive. This production slightly misrepresents the work by printing the title as The Messiah, adding a definite article that is not a part of the original English title. But by any title, Messiah is a masterpiece and has been recognized as such since the composer's lifetime. It is, in fact, the only concert work of the baroque era that has an unbroken performance history through the more than two-and-a-half centuries of its existence. Vivaldi's The Four Seasons, Bach's Mass in B Minor, and all of Handel's operas, to name only a few examples, were long forgotten and had to be revived for modern audiences. As it traveled through the centuries, Messiah was adapted to changing musical tastes, and only in the last generation or two have performances tried to return to the way it was performed in Handel's lifetime. This performance, thoroughly enjoyable on its own terms, is in the 19th-century style, not baroque, with a large (and very good) chorus and a modern orchestra, including instruments that Handel did not use. Those who want a purer baroque style might try Christopher Hogwood on CD-- or Roger Norrington on VHS if they insist on video. Seeing the musicians does add to enjoyment, and the performance has a striking visual ambiance in an ancient French monastery with some 15th-century tapestries that show their age. --Joe McLellanAmazonより Handel's most popular oratorio is not a major part of Christmas celebrations in France, as it is in English-speaking countries, and that makes the fine performance by these French choral singers all the more impressive. This production slightly misrepresents the work by printing the title as The Messiah, adding a definite article that is not a part of the original English title. But by any title, Messiah is a masterpiece and has been recognized as such since the composer's lifetime. It is, in fact, the only concert work of the baroque era that has an unbroken performance history through the more than two-and-a-half centuries of its existence. Vivaldi's The Four Seasons, Bach's Mass in B Minor, and all of Handel's operas, to name only a few examples, were long forgotten and had to be revived for modern audiences. As it traveled through the centuries, Messiah was adapted to changing musical tastes, and only in the last generation or two have performances tried to return to the way it was performed in Handel's lifetime. This performance, thoroughly enjoyable on its own terms, is in the 19th-century style, not baroque, with a large (and very good) chorus and a modern orchestra, including instruments that Handel did not use. Those who want a purer baroque style might try Christopher Hogwood on CD-- or Roger Norrington on VHS if they insist on video. Seeing the musicians does add to enjoyment, and the performance has a striking visual ambiance in an ancient French monastery with some 15th-century tapestries that show their age. --Joe McLellanAmazonより Handel's most popular oratorio is not a major part of Christmas celebrations in France, as it is in English-speaking countries, and that makes the fine performance by these French choral singers all the more impressive. This production slightly misrepresents the work by printing the title as The Messiah, adding a definite article that is not a part of the original English title. But by any title, Messiah is a masterpiece and has been recognized as such since the composer's lifetime. It is, in fact, the only concert work of the baroque era that has an unbroken performance history through the more than two-and-a-half centuries of its existence. Vivaldi's The Four Seasons, Bach's Mass in B Minor, and all of Handel's operas, to name only a few examples, were long forgotten and had to be revived for modern audiences. As it traveled through the centuries, Messiah was adapted to changing musical tastes, and only in the last generation or two have performances tried to return to the way it was performed in Handel's lifetime. This performance, thoroughly enjoyable on its own terms, is in the 19th-century style, not baroque, with a large (and very good) chorus and a modern orchestra, including instruments that Handel did not use. Those who want a purer baroque style might try Christopher Hogwood on CD-- or Roger Norrington on VHS if they insist on video. Seeing the musicians does add to enjoyment, and the performance has a striking visual ambiance in an ancient French monastery with some 15th-century tapestries that show their age. --Joe McLellanAmazonより Handel's most popular oratorio is not a major part of Christmas celebrations in France, as it is in English-speaking countries, and that makes the fine performance by these French choral singers all the more impressive. This production slightly misrepresents the work by printing the title as The Messiah, adding a definite article that is not a part of the original English title. But by any title, Messiah is a masterpiece and has been recognized as such since the composer's lifetime. It is, in fact, the only concert work of the baroque era that has an unbroken performance history through the more than two-and-a-half centuries of its existence. Vivaldi's The Four Seasons, Bach's Mass in B Minor, and all of Handel's operas, to name only a few examples, were long forgotten and had to be revived for modern audiences. As it traveled through the centuries, Messiah was adapted to changing musical tastes, and only in the last generation or two have performances tried to return to the way it was performed in Handel's lifetime. This performance, thoroughly enjoyable on its own terms, is in the 19th-century style, not baroque, with a large (and very good) chorus and a modern orchestra, including instruments that Handel did not use. Those who want a purer baroque style might try Christopher Hogwood on CD-- or Roger Norrington on VHS if they insist on video. Seeing the musicians does add to enjoyment, and the performance has a striking visual ambiance in an ancient French monastery with some 15th-century tapestries that show their age. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Symphony 9 [DVD]

【中古】Symphony 9 [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment 交響曲・管弦楽曲 Beethoven: Artist; Masur: Artist; Soffel: Artist; Wagner: Artist; Howell: Artist【商品説明】Symphony 9 [DVD]Amazonより Beethoven's Ninth Symphony (1827) went so far beyond anything in music at that time--in length (over an hour), in use of soloists and chorus in its last movement, in its profusion of musical ideas--that its effects are still being felt today. (Any composer embarking on his own Symphony No. 9 can't help but be aware of the giant shadow hanging over him.) But since it is also one of the most familiar works in the repertory, it takes a special performance to overcome a nagging feeling of "again?" Unfortunately, this 1991 concert is not such a special event. While conductor Kurt Masur is certainly in his element leading the Gewandhaus Orchestra and Chorus and the Leipzig Radio Chorus, and the four able soloists--soprano Venceslava Hruba-Freiberger, mezzo Doris Soffel, tenor James Wagner, and bass Gwynne Howell--hit their marks perfectly, this is not a transcendent Ninth. Every note, every emotion, every movement is smoothly articulated, but perhaps too smoothly. Maestro Masur seems content to ride over the rough edges of this sprawling, epic, once-revolutionary symphony, and the result is a sightseeing trip to a place the listener has been many times before. --Kevin FilipskiAmazonより Beethoven's Ninth Symphony (1827) went so far beyond anything in music at that time--in length (over an hour), in use of soloists and chorus in its last movement, in its profusion of musical ideas--that its effects are still being felt today. (Any composer embarking on his own Symphony No. 9 can't help but be aware of the giant shadow hanging over him.) But since it is also one of the most familiar works in the repertory, it takes a special performance to overcome a nagging feeling of "again?" Unfortunately, this 1991 concert is not such a special event. While conductor Kurt Masur is certainly in his element leading the Gewandhaus Orchestra and Chorus and the Leipzig Radio Chorus, and the four able soloists--soprano Venceslava Hruba-Freiberger, mezzo Doris Soffel, tenor James Wagner, and bass Gwynne Howell--hit their marks perfectly, this is not a transcendent Ninth. Every note, every emotion, every movement is smoothly articulated, but perhaps too smoothly. Maestro Masur seems content to ride over the rough edges of this sprawling, epic, once-revolutionary symphony, and the result is a sightseeing trip to a place the listener has been many times before. --Kevin FilipskiAmazonより Beethoven's Ninth Symphony (1827) went so far beyond anything in music at that time--in length (over an hour), in use of soloists and chorus in its last movement, in its profusion of musical ideas--that its effects are still being felt today. (Any composer embarking on his own Symphony No. 9 can't help but be aware of the giant shadow hanging over him.) But since it is also one of the most familiar works in the repertory, it takes a special performance to overcome a nagging feeling of "again?" Unfortunately, this 1991 concert is not such a special event. While conductor Kurt Masur is certainly in his element leading the Gewandhaus Orchestra and Chorus and the Leipzig Radio Chorus, and the four able soloists--soprano Venceslava Hruba-Freiberger, mezzo Doris Soffel, tenor James Wagner, and bass Gwynne Howell--hit their marks perfectly, this is not a transcendent Ninth. Every note, every emotion, every movement is smoothly articulated, but perhaps too smoothly. Maestro Masur seems content to ride over the rough edges of this sprawling, epic, once-revolutionary symphony, and the result is a sightseeing trip to a place the listener has been many times before. --Kevin FilipskiAmazonより Beethoven's Ninth Symphony (1827) went so far beyond anything in music at that time--in length (over an hour), in use of soloists and chorus in its last movement, in its profusion of musical ideas--that its effects are still being felt today. (Any composer embarking on his own Symphony No. 9 can't help but be aware of the giant shadow hanging over him.) But since it is also one of the most familiar works in the repertory, it takes a special performance to overcome a nagging feeling of "again?" Unfortunately, this 1991 concert is not such a special event. While conductor Kurt Masur is certainly in his element leading the Gewandhaus Orchestra and Chorus and the Leipzig Radio Chorus, and the four able soloists--soprano Venceslava Hruba-Freiberger, mezzo Doris Soffel, tenor James Wagner, and bass Gwynne Howell--hit their marks perfectly, this is not a transcendent Ninth. Every note, every emotion, every movement is smoothly articulated, but perhaps too smoothly. Maestro Masur seems content to ride over the rough edges of this sprawling, epic, once-revolutionary symphony, and the result is a sightseeing trip to a place the listener has been many times before. --Kevin FilipskiAmazonより Beethoven's Ninth Symphony (1827) went so far beyond anything in music at that time--in length (over an hour), in use of soloists and chorus in its last movement, in its profusion of musical ideas--that its effects are still being felt today. (Any composer embarking on his own Symphony No. 9 can't help but be aware of the giant shadow hanging over him.) But since it is also one of the most familiar works in the repertory, it takes a special performance to overcome a nagging feeling of "again?" Unfortunately, this 1991 concert is not such a special event. While conductor Kurt Masur is certainly in his element leading the Gewandhaus Orchestra and Chorus and the Leipzig Radio Chorus, and the four able soloists--soprano Venceslava Hruba-Freiberger, mezzo Doris Soffel, tenor James Wagner, and bass Gwynne Howell--hit their marks perfectly, this is not a transcendent Ninth. Every note, every emotion, every movement is smoothly articulated, but perhaps too smoothly. Maestro Masur seems content to ride over the rough edges of this sprawling, epic, once-revolutionary symphony, and the result is a sightseeing trip to a place the listener has been many times before. --Kevin Filipski中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】48 Preludes & Fugues [DVD]

【中古】48 Preludes & Fugues [DVD]【メーカー名】【メーカー型番】【ブランド名】Image Entertainment 交響曲・管弦楽曲 Bach: Artist; Hewitt: Artist; Macgregor: Artist【商品説明】48 Preludes & Fugues [DVD]Amazonより This is a fresh, visually and musically fascinating approach to one of music history's key compositions, Bach's Well-Tempered Clavier. There is room for many approaches to this music, including keyboard instruments other than the piano and a variety of performing styles, but this is, on the whole, as satisfactory a recorded presentation as the music has had. All four pianists are first-class artists, and preference for one or another is a matter of personal taste. The DVD set preserves the original BBC format, in which each set of prelude and fugue has opening and closing credits and a short spoken introduction, some more valuable than others. Nikolai Demidenko's segment, in the Palazzo Labia, Venice, has interesting views of the city. For Andrei Gavrilov at the New Art Gallery in Walsall, England; Joanna MacGregor in the Palau Guell in Barcelona; and Angel Hewitt at Die Warburg in Eisenach, Germany, the camera rarely wanders outside the room. One curious touch: after Hewitt mentions Bach's children, several semitransparent children wander silently through the room, looking like ghosts. The 48 masterpieces of The Well-Tempered Clavier look far into the future by promoting tuning adjustments that liberated keyboard music, making possible the greater freedom of the classical and romantic styles that went far beyond baroque practices. --Joe McLellanAmazonより This is a fresh, visually and musically fascinating approach to one of music history's key compositions, Bach's Well-Tempered Clavier. There is room for many approaches to this music, including keyboard instruments other than the piano and a variety of performing styles, but this is, on the whole, as satisfactory a recorded presentation as the music has had. All four pianists are first-class artists, and preference for one or another is a matter of personal taste. The DVD set preserves the original BBC format, in which each set of prelude and fugue has opening and closing credits and a short spoken introduction, some more valuable than others. Nikolai Demidenko's segment, in the Palazzo Labia, Venice, has interesting views of the city. For Andrei Gavrilov at the New Art Gallery in Walsall, England; Joanna MacGregor in the Palau Guell in Barcelona; and Angel Hewitt at Die Warburg in Eisenach, Germany, the camera rarely wanders outside the room. One curious touch: after Hewitt mentions Bach's children, several semitransparent children wander silently through the room, looking like ghosts. The 48 masterpieces of The Well-Tempered Clavier look far into the future by promoting tuning adjustments that liberated keyboard music, making possible the greater freedom of the classical and romantic styles that went far beyond baroque practices. --Joe McLellanAmazonより This is a fresh, visually and musically fascinating approach to one of music history's key compositions, Bach's Well-Tempered Clavier. There is room for many approaches to this music, including keyboard instruments other than the piano and a variety of performing styles, but this is, on the whole, as satisfactory a recorded presentation as the music has had. All four pianists are first-class artists, and preference for one or another is a matter of personal taste. The DVD set preserves the original BBC format, in which each set of prelude and fugue has opening and closing credits and a short spoken introduction, some more valuable than others. Nikolai Demidenko's segment, in the Palazzo Labia, Venice, has interesting views of the city. For Andrei Gavrilov at the New Art Gallery in Walsall, England; Joanna MacGregor in the Palau Guell in Barcelona; and Angel Hewitt at Die Warburg in Eisenach, Germany, the camera rarely wanders outside the room. One curious touch: after Hewitt mentions Bach's children, several semitransparent children wander silently through the room, looking like ghosts. The 48 masterpieces of The Well-Tempered Clavier look far into the future by promoting tuning adjustments that liberated keyboard music, making possible the greater freedom of the classical and romantic styles that went far beyond baroque practices. --Joe McLellanAmazonより This is a fresh, visually and musically fascinating approach to one of music history's key compositions, Bach's Well-Tempered Clavier. There is room for many approaches to this music, including keyboard instruments other than the piano and a variety of performing styles, but this is, on the whole, as satisfactory a recorded presentation as the music has had. All four pianists are first-class artists, and preference for one or another is a matter of personal taste. The DVD set preserves the original BBC format, in which each set of prelude and fugue has opening and closing credits and a short spoken introduction, some more valuable than others. Nikolai Demidenko's segment, in the Palazzo Labia, Venice, has interesting views of the city. For Andrei Gavrilov at the New Art Gallery in Walsall, England; Joanna MacGregor in the Palau Guell in Barcelona; and Angel Hewitt at Die Warburg in Eisenach, Germany, the camera rarely wanders outside the room. One curious touch: after Hewitt mentions Bach's children, several semitransparent children wander silently through the room, looking like ghosts. The 48 masterpieces of The Well-Tempered Clavier look far into the future by promoting tuning adjustments that liberated keyboard music, making possible the greater freedom of the classical and romantic styles that went far beyond baroque practices. --Joe McLellanAmazonより This is a fresh, visually and musically fascinating approach to one of music history's key compositions, Bach's Well-Tempered Clavier. There is room for many approaches to this music, including keyboard instruments other than the piano and a variety of performing styles, but this is, on the whole, as satisfactory a recorded presentation as the music has had. All four pianists are first-class artists, and preference for one or another is a matter of personal taste. The DVD set preserves the original BBC format, in which each set of prelude and fugue has opening and closing credits and a short spoken introduction, some more valuable than others. Nikolai Demidenko's segment, in the Palazzo Labia, Venice, has interesting views of the city. For Andrei Gavrilov at the New Art Gallery in Walsall, England; Joanna MacGregor in the Palau Guell in Barcelona; and Angel Hewitt at Die Warburg in Eisenach, Germany, the camera rarely wanders outside the room. One curious touch: after Hewitt mentions Bach's children, several semitransparent children wander silently through the room, looking like ghosts. The 48 masterpieces of The Well-Tempered Clavier look far into the future by promoting tuning adjustments that liberated keyboard music, making possible the greater freedom of the classical and romantic styles that went far beyond baroque practices. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】基礎からはじめる「子供のためのバレエ入門」下巻(レッスンCD付) [DVD]

【中古】基礎からはじめる「子供のためのバレエ入門」下巻(レッスンCD付) [DVD]【メーカー名】【メーカー型番】【ブランド名】【商品説明】基礎からはじめる「子供のためのバレエ入門」下巻(レッスンCD付) [DVD]★ご覧いただき誠にありがとうございます★【送料無料】【こちらの商品は、安心、最速のAmazonより迅速に発送されます】ケースに若干のスリキズがございますがDISK、ブックレットともキズはございません。非常にキレイな状態です。商品はすべてビニールパックに入れて商品を保護し発送します。お届はお急ぎ便、お届け時間指定便が可能です。お支払い方法には【クレジットカード】【代金引換】【コンビニ払い】【ATM】【ネットバンキング】【電子マネー】など各種ご利用いただけます。 万一検品に見落としがあり返品を希望される場合、またその他お問い合わせはAmazonカスタマーサービスまでお願いいたします。サービススタッフが直接お客様の対応をさせていただきますのでご安心ください。★ご覧いただき誠にありがとうございます★【送料無料】【こちらの商品は、安心、最速のAmazonより迅速に発送されます】ケースに若干のスリキズがございますがDISK、ブックレットともキズはございません。非常にキレイな状態です。商品はすべてビニールパックに入れて商品を保護し発送します。お届はお急ぎ便、お届け時間指定便が可能です。お支払い方法には【クレジットカード】【代金引換】【コンビニ払い】【ATM】【ネットバンキング】【電子マネー】など各種ご利用いただけます。 万一検品に見落としがあり返品を希望される場合、またその他お問い合わせはAmazonカスタマーサービスまでお願いいたします。サービススタッフが直接お客様の対応をさせていただきますのでご安心ください。★ご覧いただき誠にありがとうございます★【送料無料】【こちらの商品は、安心、最速のAmazonより迅速に発送されます】ケースに若干のスリキズがございますがDISK、ブックレットともキズはございません。非常にキレイな状態です。商品はすべてビニールパックに入れて商品を保護し発送します。お届はお急ぎ便、お届け時間指定便が可能です。お支払い方法には【クレジットカード】【代金引換】【コンビニ払い】【ATM】【ネットバンキング】【電子マネー】など各種ご利用いただけます。 万一検品に見落としがあり返品を希望される場合、またその他お問い合わせはAmazonカスタマーサービスまでお願いいたします。サービススタッフが直接お客様の対応をさせていただきますのでご安心ください。★ご覧いただき誠にありがとうございます★【送料無料】【こちらの商品は、安心、最速のAmazonより迅速に発送されます】ケースに若干のスリキズがございますがDISK、ブックレットともキズはございません。非常にキレイな状態です。商品はすべてビニールパックに入れて商品を保護し発送します。お届はお急ぎ便、お届け時間指定便が可能です。お支払い方法には【クレジットカード】【代金引換】【コンビニ払い】【ATM】【ネットバンキング】【電子マネー】など各種ご利用いただけます。 万一検品に見落としがあり返品を希望される場合、またその他お問い合わせはAmazonカスタマーサービスまでお願いいたします。サービススタッフが直接お客様の対応をさせていただきますのでご安心ください。★ご覧いただき誠にありがとうございます★【送料無料】【こちらの商品は、安心、最速のAmazonより迅速に発送されます】ケースに若干のスリキズがございますがDISK、ブックレットともキズはございません。非常にキレイな状態です。商品はすべてビニールパックに入れて商品を保護し発送します。お届はお急ぎ便、お届け時間指定便が可能です。お支払い方法には【クレジットカード】【代金引換】【コンビニ払い】【ATM】【ネットバンキング】【電子マネー】など各種ご利用いただけます。 万一検品に見落としがあり返品を希望される場合、またその他お問い合わせはAmazonカスタマーサービスまでお願いいたします。サービススタッフが直接お客様の対応をさせていただきますのでご安心ください。中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0

【中古】Maria Callas :The Callas Conversations (EMI Classic Archive) [DVD] [Import]

【中古】Maria Callas :The Callas Conversations (EMI Classic Archive) [DVD] [Import]【メーカー名】【メーカー型番】【ブランド名】【商品説明】Maria Callas :The Callas Conversations (EMI Classic Archive) [DVD] [Import]Amazonより The Callas Conversations offers some rare and fascinating glimpses of Maria Callas, whose life and art are well-documented by books and records but less so in video formats. What is documented here is mostly Callas as an interview subject, not Callas as an operatic actress who transfixed audiences with her visual presence. The two 1968 BBC interviews are her most important appearances on television. Her conversations with George Lascelles, 7th Earl of Harewood, a dominant figure in English opera, and a friendly, knowledgeable interviewer, put her completely at ease. They discuss her early career (as Isolde and Brunnhilde, believe it or not), her conversion to bel canto, conductor Tullio Serafin who was her mentor, her vocal style, and her (often surprising) views on her best-known roles. Samples of her singing are scattered through the interviews in audio recordings artfully linked with still photos. Also included (in French with subtitles) are her 1965 interview with critic and organist Bernard Gavoty and three arias ("Adieu, notre petite table," "Ah, non credea mirarti," and "O mio babbino caro") in concert performances conducted by Georges Pretre. This segment is more formal and less revealing than the Harewood conversations but worth seeing. The arias are well-sung concert performances, out of costume and with minimal acting except for facial expressions. --Joe McLellanAmazonより The Callas Conversations offers some rare and fascinating glimpses of Maria Callas, whose life and art are well-documented by books and records but less so in video formats. What is documented here is mostly Callas as an interview subject, not Callas as an operatic actress who transfixed audiences with her visual presence. The two 1968 BBC interviews are her most important appearances on television. Her conversations with George Lascelles, 7th Earl of Harewood, a dominant figure in English opera, and a friendly, knowledgeable interviewer, put her completely at ease. They discuss her early career (as Isolde and Brunnhilde, believe it or not), her conversion to bel canto, conductor Tullio Serafin who was her mentor, her vocal style, and her (often surprising) views on her best-known roles. Samples of her singing are scattered through the interviews in audio recordings artfully linked with still photos. Also included (in French with subtitles) are her 1965 interview with critic and organist Bernard Gavoty and three arias ("Adieu, notre petite table," "Ah, non credea mirarti," and "O mio babbino caro") in concert performances conducted by Georges Pretre. This segment is more formal and less revealing than the Harewood conversations but worth seeing. The arias are well-sung concert performances, out of costume and with minimal acting except for facial expressions. --Joe McLellanAmazonより The Callas Conversations offers some rare and fascinating glimpses of Maria Callas, whose life and art are well-documented by books and records but less so in video formats. What is documented here is mostly Callas as an interview subject, not Callas as an operatic actress who transfixed audiences with her visual presence. The two 1968 BBC interviews are her most important appearances on television. Her conversations with George Lascelles, 7th Earl of Harewood, a dominant figure in English opera, and a friendly, knowledgeable interviewer, put her completely at ease. They discuss her early career (as Isolde and Brunnhilde, believe it or not), her conversion to bel canto, conductor Tullio Serafin who was her mentor, her vocal style, and her (often surprising) views on her best-known roles. Samples of her singing are scattered through the interviews in audio recordings artfully linked with still photos. Also included (in French with subtitles) are her 1965 interview with critic and organist Bernard Gavoty and three arias ("Adieu, notre petite table," "Ah, non credea mirarti," and "O mio babbino caro") in concert performances conducted by Georges Pretre. This segment is more formal and less revealing than the Harewood conversations but worth seeing. The arias are well-sung concert performances, out of costume and with minimal acting except for facial expressions. --Joe McLellanAmazonより The Callas Conversations offers some rare and fascinating glimpses of Maria Callas, whose life and art are well-documented by books and records but less so in video formats. What is documented here is mostly Callas as an interview subject, not Callas as an operatic actress who transfixed audiences with her visual presence. The two 1968 BBC interviews are her most important appearances on television. Her conversations with George Lascelles, 7th Earl of Harewood, a dominant figure in English opera, and a friendly, knowledgeable interviewer, put her completely at ease. They discuss her early career (as Isolde and Brunnhilde, believe it or not), her conversion to bel canto, conductor Tullio Serafin who was her mentor, her vocal style, and her (often surprising) views on her best-known roles. Samples of her singing are scattered through the interviews in audio recordings artfully linked with still photos. Also included (in French with subtitles) are her 1965 interview with critic and organist Bernard Gavoty and three arias ("Adieu, notre petite table," "Ah, non credea mirarti," and "O mio babbino caro") in concert performances conducted by Georges Pretre. This segment is more formal and less revealing than the Harewood conversations but worth seeing. The arias are well-sung concert performances, out of costume and with minimal acting except for facial expressions. --Joe McLellanAmazonより The Callas Conversations offers some rare and fascinating glimpses of Maria Callas, whose life and art are well-documented by books and records but less so in video formats. What is documented here is mostly Callas as an interview subject, not Callas as an operatic actress who transfixed audiences with her visual presence. The two 1968 BBC interviews are her most important appearances on television. Her conversations with George Lascelles, 7th Earl of Harewood, a dominant figure in English opera, and a friendly, knowledgeable interviewer, put her completely at ease. They discuss her early career (as Isolde and Brunnhilde, believe it or not), her conversion to bel canto, conductor Tullio Serafin who was her mentor, her vocal style, and her (often surprising) views on her best-known roles. Samples of her singing are scattered through the interviews in audio recordings artfully linked with still photos. Also included (in French with subtitles) are her 1965 interview with critic and organist Bernard Gavoty and three arias ("Adieu, notre petite table," "Ah, non credea mirarti," and "O mio babbino caro") in concert performances conducted by Georges Pretre. This segment is more formal and less revealing than the Harewood conversations but worth seeing. The arias are well-sung concert performances, out of costume and with minimal acting except for facial expressions. --Joe McLellan中古品のため使用に伴うキズ等がございますが、問題なくご使用頂ける商品です。画像はイメージ写真ですので商品のコンディション、付属品の有無については入荷の度異なります。当店にて、動作確認・点検・アルコール等のクリーニングを施しております。中古品のため限定特典や補償等は、商品名、説明に記載があっても付属しておりません予めご了承下さい。当店では初期不良に限り、商品到着から7日間は返品を 受付けております。他モールとの併売品の為、完売の際はご連絡致しますのでご了承ください。ご注文からお届けまで1、ご注文⇒ご注文は24時間受け付けております。2、注文確認⇒ご注文後、当店から注文確認メールを送信します。3、お届けまで3～10営業日程度とお考え下さい。4、入金確認⇒前払い決済をご選択の場合、ご入金確認後、配送手配を致します。5、出荷⇒配送準備が整い次第、出荷致します。配送業者、追跡番号等の詳細をメール送信致します。6、到着⇒出荷後、1～3日後に商品が到着します。 ※離島、北海道、九州、沖縄は遅れる場合がございます。予めご了承下さい。お電話でのお問合せは少人数で運営の為受け付けておりませんので、メールにてお問合せお願い致します。営業時間 月～金 10:00～17:00お客様都合によるご注文後のキャンセル・返品はお受けしておりませんのでご了承下さい。0