من تصميم William Shakespeare
المراجعات-
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It's a great pleasure to hear Paul Scofield as King Lear in a recording published to coincide with the actor's 80th birthday. The famous tenderness of his voice is well suited for the intimate medium of recorded drama; Lear's Act Three prayer ("Poor naked wretches") and his later scenes of reunion and reconciliation with Cordelia, for example, are among the most memorable moments of this recording. Kenneth Branagh, who played Edmond in a 1994 BBC recording of the play, here delivers a compassionate performance as the Fool. Alec McCowen also stands out as Gloucester and conveys the range of the old man's credulity, bitterness, and humanity. John Tydeman's direction oversees a moving production. G.H. 2003 Audie Award Finalist (c) AudioFile 2003, Portland, Maine
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Hearing Lear, rather than seeing it, emphasizes the power of Shakespearean language. As the aging king who gives up his throne, Trevor Peacock deteriorates from petulance to madness. Gerard Murphy delivers Edmund's monologue on his bastard condition with masterful control, humanizing evil with an anger born of oversensitivity to injustice. Julia Ford brings a gentle strength to Cordelia; her voice alone is enough to convince that she is virtuous but not weaker for it. However, Lear is so complicated that even with striking sound effects this production is confusing at times. Some elements, such as Kent's disguise or Gloucester's blinding, must be seen for full effect. G.T.B. (c) AudioFile 2002, Portland, Maine
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June 1, 2003
Gr 12 Up-This famous family tragedy is dramatized expressively by an outstanding cast of experienced actors led by Paul Scofield. They are very knowledgeable about the play and give each speech with changes of tone and intonation expressing the exact shades necessary for proper understanding. Hearing the voices personalizes the story, making it seem as if this tragedy is real. Voices vary from raging shouts to gentle whispers. The British accents add realism and are not distracting. Appropriate sound effects, whether an animal baying, rain pelting, or horns blaring, assist in setting the mood. However, it is necessary to identify each character by his speech alone as there is no narrator announcing a scene, an entrance, or a setting. Because this can be confusing, high school students should either use the prepared guide which summarizes this information, or have the entire text in front of them. King Lear is not often taught in regular high school English classes, and even 12th grade AP classes have trouble understanding the play. So, although this is an excellent production, unless the play is taught in your school, consider it a supplementary purchase at best.-Claudia Moore, W.T. Woodson High School, Fairfax, VACopyright 2003 School Library Journal, LLC Used with permission.
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The Modern Library brings the BBC's radio production of King Lear to audio cassette. Alec Guiness is a splendid Lear, expert in his transition from a demanding and majestic father/king to a solitary, lunatic soul on a stormy mountain. Sarah Badel's Cordelia is astute and reflective. The combination of talents makes this tragedy one of the most poignant in all of Shakespeare's works. R.A.P. (c)AudioFile, Portland, Maine
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An aging and powerful monarch chooses to cede his vast kingdom to only two of his three daughters. Madness, familial intrigue, and political devastation ensue. By sticking to their American accents and vocal rhythms, Michael Winters (King Lear) and the entire Oregon Shakespeare Festival cast bring emotional freshness, ease, and clarity to the dense and heightened language and classic characters of this cornerstone of world literature. Well-mixed transitions, percussive music, and intense and convincing sword and battle sound effects add layers to the production, making it sound more film-like than stage-like. "Ay, every inch a king: When I do stare, see how the subjects quake." A solid and well-spoken interpretation of a time-honored classic. B.P. © AudioFile 2014, Portland, Maine
- The (London) Guardian "If you buy only one spoken-word recording this year, make it this. [Paul Scofield] is breathtakingly, stingingly brilliant. The range and control of that wonderful voice remain awesome, and like an organ virtuoso he switches registration seamlessly, from blazing diapason rage down to dulciana pathos, exploiting the studio's opportunities for intimacy never offered by the stage”
