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Rossini: Guillaume Tell [Original recording reissued]

Gioachino Rossini , Lamberto Gardelli , Royal Philharmonic Orchestra , Gabriel Bacquier , Montserrat Caballé , Nicolai Gedda , Jocelyne Taillon , Mady Mesplé , Gwynne Howell , Kolos Kovacs Audio CD
4.8 out of 5 stars  See all reviews (6 customer reviews)

Price: $31.85 & FREE Shipping on orders over $35. Details
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Product Details

  • Performer: Gabriel Bacquier, Montserrat Caballé, Nicolai Gedda, Jocelyne Taillon, Mady Mesplé, et al.
  • Orchestra: Royal Philharmonic Orchestra
  • Conductor: Lamberto Gardelli
  • Composer: Gioachino Rossini
  • Audio CD (November 9, 2010)
  • SPARS Code: ADD
  • Number of Discs: 4
  • Format: Original recording reissued
  • Label: Warner Classics
  • ASIN: B0040UEI4U
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #157,747 in Music (See Top 100 in Music)

Disc: 1
1. Ouverture (Orchestre). - Guillaume Tell
2. Quel jour serein le ciel présage! (Choeurs). - Guillaume Tell, PREMIER ACTE/ACT 1/ATTO PRIMO/ERSTER AKT
3. Accours dans ma nacelle (Pêcheur/Tell/Jemmy/Hedwige). - Guillaume Tell, PREMIER ACTE/ACT 1/ATTO PRIMO/ERSTER AKT
4. On entend des montagnes (Xhoeurs/Jemmy/Hedwige/Pêcheur/Tell/Arnold/Melchthal). - Guillaume Tell, PREMIER ACTE/ACT 1/ATTO PRIMO/ERSTER AKT
See all 18 tracks on this disc
Disc: 2
1. Pâle et tremblant, se soutenant à peine (Jemmy/Pêcheur/Leuthold/Hedwige/Melchthal). - Guillaume Tell, PREMIER ACTE/ACT 1/ATTO PRIMO/ERSTER AKT
2. Arnold a disparu (Tell/Choeurs/Leuthold/Hedwige). - Guillaume Tell, PREMIER ACTE/ACT 1/ATTO PRIMO/ERSTER AKT
3. Dieu de bonté, Dieu tout-puissant (Choeurs/Rodolphe/Jemmy/Hedwige/Melchthal). - Guillaume Tell, PREMIER ACTE/ACT 1/ATTO PRIMO/ERSTER AKT
4. Ils vont parler. - Guillaume Tell, PREMIER ACTE/ACT 1/ATTO PRIMO/ERSTER AKT
See all 24 tracks on this disc
Disc: 3
1. Arnold, d'où naît ce désespoir? (Mathilde/Arnold). - Guillaume Tell, TROISIEME ACTE/ACT 3/ATTO TERZO/DRITTER AKT
2. Pour notre amour plus d'espérance (Mathilde). - Guillaume Tell, TROISIEME ACTE/ACT 3/ATTO TERZO/DRITTER AKT
3. Qual bruit arrive à mon oreille?. - Guillaume Tell, TROISIEME ACTE/ACT 3/ATTO TERZO/DRITTER AKT
4. Sur la rive étrangère (Mathilde/Arnold). - Guillaume Tell, TROISIEME ACTE/ACT 3/ATTO TERZO/DRITTER AKT
See all 20 tracks on this disc
Disc: 4
1. Ah! que ton âme se rassure (Jeremy). - Guillaume Tell, TROISIEME ACTE/ACT 3/ATTO TERZO/DRITTER AKT, Appendice.
2. Ne m'abandonne pas, espoir de la vengeance!. - Guillaume Tell, QUATRIEME ACTE/ACT 4/ATTO QUATRO/VIERTER AKT
3. Asile héréditaire (Arnold). - Guillaume Tell, QUATRIEME ACTE/ACT 4/ATTO QUATRO/VIERTER AKT
4. Vengeance! Vengeance!. - Guillaume Tell, QUATRIEME ACTE/ACT 4/ATTO QUATRO/VIERTER AKT
See all 14 tracks on this disc
Disc: 5
1. Libretto. - Guillaume Tell
2. Synopsis. - Guillaume Tell

Editorial Reviews


Customer Reviews

Most Helpful Customer Reviews
10 of 10 people found the following review helpful
Format:Audio CD
Having just reviewed the recording of the Italian version of this opera on Decca under Chailly, I naturally returned to this one as the companion piece, made some four years earlier in 1972. In one sense, they are not really comparable, this being the original French version and hence exactly what Rossini intended for "La grande Boutique", complete with a Third Act ballet and four hours of music. In some ways the opera is suited to Italian, dealing as it does with big patriotic themes and thwarted, secret love, but when you hear this music sung in French either by native singers or singers like Caballe and Gedda who are good linguists and at home in the language, you realise that, unsurprisingly, French fits the rhythms and stresses of the music better.

The main vocal glory in this set is undoubtedly Caballe; she displays all the vocal traits that place her in the front rank of great sopranos of the second half of the 20C, particularly her exquisite pianissimi and portamenti. For all her virtues, Mirella Freni yields to Caballe for agility, delicacy and poignancy of expression. Otherwise the vocal advantages are nearly all with the Decca set. Bacquier, Gedda and Kovacs are all dry of voice in comparison with the firmer, more virile tones of Milnes, Pavarotti and Ghiaurov, although it is always a pleasure to hear how Bacquier inflects both his music and the words he sings, injecting great drama and emotion, even if his top notes are a bit windy. Several previous reviews have remarked that the reason behind the dryness of Gedda's timbre was that "he was getting on a bit".
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6 of 6 people found the following review helpful
By Luca
Format:Audio CD
This is the 2010 reissue of the 1972 magnificent studio recording of the French version (the one actually edited by the composer himself) of the last Rossini's opera.
"Guillaume Tell" is here presented in a quite complete version (4 CDs containing nearly four hours of wonderful music), therefore gaining in narrative breath and balance.

The great Gabriel Bacquier (b. 1924) is a convincing Guillaume, rendered through a round and generous heroic vocality, but, at the same time, able to convey a moving lyricism, as in the heart rending scene which precedes the well known episode of the apple.

A really top level couple of artists - Montserrat Caballé (b. 1933), as Mathilde, and Nicolai Gedda (b. 1925), as Arnoldo, - gives us solos and duets where virtuosic bel canto and interpretative deepness perfectly merge for a pleasant listening and an intense emotional involvement.

Mady Mesplé (b. 1931), one of the best famed French "soprano di coloratura", convincingly renders the combative personality, joined to the childish tenderness, of Jemmy, Guillaume's young son, giving us some very enjoyable bel canto moments.

Jocelyne Taillon (1941-2004) - a pupil of the great Germaine Lubin (1890-1979) - is an excellent Edwige (Guillaume's wife and Jemmy's mother) in rendering her continuos and deep apprehension for her beloved relatives' destiny, courageously hidden under the dignity suited to a leader's wife.

This outstanding group of Stars is then appropriately supported by a powerful and solid team of basses - with voices of other times.
A young Kolos Kovacs (b. 1948), even if his French pronunciation is not so refined, is a powerful Walter; Gwynne Howell (b.
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12 of 14 people found the following review helpful
5.0 out of 5 stars Rossini's greatest opera December 9, 2010
Format:Audio CD
Almost everyone is familiar with the last section of the overture to William Tell because of its use as the theme for The Lone Ranger. Some people are even familiar with the whole overture and realize what a masterful tone poem it is. But unfortunately few people have heard the magnificent opera which goes with the famous overture. And the opera William Tell -- despite its relative obscurity -- is indeed a genuine masterpiece, filled not only with outstanding arias and choruses but also with great orchestral and ballet music. William Tell was Rossini's last opera -- and despite the greatness of the his many other operas, including The Barber of Seville -- William Tell was Rossini's greatest masterpiece. If you love opera and have never heard the complete William Tell please acquire this outstanding recording. If you do, I think that you will agree with me that it has been unjustly neglected and belongs in the mainstream operatic repertoire.
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1 of 1 people found the following review helpful
5.0 out of 5 stars Complete in almost every sense. August 22, 2013
Format:Audio CD|Verified Purchase
This Gardelli recording of the original French version of Rossini's "Guilaume Tell" is likely to remain unassailed in the forseeable future (the recent year release nowhere comes near).
The reasons are easy to fathom - at the pit is the alert and tasteful direction of Lamberto Gardelli, an early-Verdi expert who excels here in the late Rossini masterpiece.
Guillaume Tell, together with Semiramide, is easily the best of Rossini's operas, topping even the immensely popular La Cenerentola, Il Barbiere di Sivigli, and Il Vaggio a Reims. The music is propellingly heroic and romantic in turns, and as always, Rossini shines in ensembles, only that in this one, the solo arias are fully gripping as well.
If you own the Chailly/Pavarotti/Freni Italian version and think that you need only to have that one, you are sorely mistaken. While that one is certainly great, this French version sung by Caballe/Gedda/Mesple should under no circumstances be overlooked.
Admittedly, Gedda is not the ideal Arnoldo with a lighter voice that may sound a tad hooty in the forte passages, he sings in good bel canto style and tackle the high notes in the final Act with bravura.
The soprano roles are however the main vocal attraction, with Caballe in her absolute prime, shining together with the terrific Mady Mesple in the trouser role of Jemmy.
That Caballe is invincible in this sort of repertoire needs little convincing - her Semiramide, though pirate recording, is already ample evidence that she is the best ever interpretor of this type of Rossinian 'big soprano roles'. Mesple benefitted by Gardelli's re-instatment of Jemmy's big aria 'Ah! Que Ton Âme Se Rassure' in Act 3, and what a worthy reinstatement!
If Caballe is the invincible dramatic coloratura, then Mesple is simply the best coloratura leggiero of her era.
No opera lover could afford to miss this terrific recording.
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