Gluck - Orfeo ed Euridice (Naples 1774) (deluxe limited edition)
£13.25
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Label: Erato
Cat No: 9029570794
Format: CD
Number of Discs: 1
Genre: Opera
Release Date: 18th May 2018
Contents
Artists
Philippe Jaroussky (countertenor)Amanda Forsythe (soprano)
Emoke Barath (soprano)
Coro della Radiotelevisione svizzera
I Barocchisti
Conductor
Diego FasolisWorks
Orfeo ed Euridice (Orpheus and Eurydice)Artists
Philippe Jaroussky (countertenor)Amanda Forsythe (soprano)
Emoke Barath (soprano)
Coro della Radiotelevisione svizzera
I Barocchisti
Conductor
Diego FasolisAbout
Conducted by Diego Fasolis, this is the world premiere recording of a version of the opera that was performed at the Royal Palace in Naples in 1774, 12 years after Orfeo ed Euridice was staged in Vienna as the first of Gluck’s ‘reform operas’. In these works Gluck emphasised simplicity of form and directness of expression, consciously rejecting the extravagances of opera seria, which dominated the early 18th century and was typified by convoluted plots and extended showpiece arias.
2017 brought the release on Erato of Jaroussky’s own retelling of the myth, La storia di Orfeo, which comprised arias by three Italian composers from the 17th century – Monteverdi, Rossi and Sartorio. His Euridice was the Hungarian soprano Emőke Baráth, who in the Gluck opera moves over to the role of Amor, god of love. Euridice is sung in the new recording by the American soprano Amanda Forsythe, who already features in the Erato catalogue alongside Jaroussky in Agostino Steffani’s opera Niobe, Regina di Tebe.
In addition to La storia di Orfeo, Diego Fasolis has collaborated with Philippe Jaroussky on Erato recordings of Vinci’s Artaserse (audio and video albums), Handel’s Faramondo and Pergolesi’s Stabat mater.
Sound/Video
Paused
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1Gluck: Orfeo Ed Euridice, Wq. 30: Sinfonia - Allegro Con Moto
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2Gluck: Orfeo Ed Euridice, Wq. 30, Act 1: Ah! Se Intorno A Quest'urna Funesta (Orfeo, Chorus)
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3Gluck: Orfeo Ed Euridice, Wq. 30, Act 1: Basta, Basta, O Compagni! (Orfeo)
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4Gluck: Orfeo Ed Euridice, Wq. 30, Act 1: Ballo - Tempo Di Minue
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5Gluck: Orfeo Ed Euridice, Wq. 30, Act 1: Ah! Se Intorno A Quest'urna Funesta (Bis) [Chorus]
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6Gluck: Orfeo Ed Euridice, Wq. 30, Act 1: Chiamo Il Mio Ben Cosi ... Piango Il Mio Ben Cosi (Orfeo)
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7Gluck: Orfeo Ed Euridice, Wq. 30, Act 1: Numi, Barbari Numi! (Orfeo)
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8Gluck: Orfeo Ed Euridice, Wq. 30, Act 1: T'assiste Amore (Orfeo, Amore)
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9Gluck: Orfeo Ed Euridice, Wq. 30, Act 1: Gli Sguardi Trattieni .... Sai Pur Che Talora (Amore)
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10Gluck: Orfeo Ed Euridice, Wq. 30, Act 1: Che Disse? Che Ascoltai? (Orfeo)
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11Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Ballo Di Furie E Spettri - Maestoso - Un Poco Largo - Chi Mai dell'Erebo (Chorus)
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12Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Deh Placatevi Con Me (Orfeo, Chorus)
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13Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Misero Giovine! (Chorus)
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14Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Mille Pene (Orfeo)
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15Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Ah Quale Incognito (Chorus)
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16Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Men Tiranne (Orfeo)
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17Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Ah Quale Incognito (Bis) [Chorus]
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18Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Ballo D'eroi Ed Eroine Negli Elisi - Andantino
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19Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Che Puro Ciel! ... Euridice Dov'e? (Orfeo, Chorus)
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20Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Vieni A' Regni Del Riposo (Chorus)
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21Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Ballo - Andante
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22Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Anime Avventurose (Orfeo, Chorus)
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23Gluck: Orfeo Ed Euridice, Wq. 30, Act 2: Torna, O Bella, Al Tuo Consorte (Chorus)
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24Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Vieni, Segui I Miei Passi ... Ch'io Taccia! (Orfeo, Euridice)
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25Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Vieni, Appaga Il Tuo Consorte ... Grande, O Numi (Orfeo, Euridice)
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26Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Qual Vita e Questa Mai (Orfeo, Euridice)
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27Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Senza Un Addio? ... Ah! Crudel (Euridice)
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28Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Piu Frenarmi Non Posso (Orfeo, Euridice)
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29Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Che Faro Senza Euridice (Orfeo)
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30Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Ma Finisca, E Per Sempre (Orfeo)
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31Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Orfeo, Che Fai? (Orfeo, Euridice, Amore)
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32Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Trionfi Amore! (Orfeo, Euridice, Amore, Chorus)
Europadisc Review
Now the star French countertenor Philippe Jaroussky, who recently gave us excerpts from the Orpheus operas of Monteverdi, Sartorio and Rossi, partnered by Emőke Baráth, I Barocchisti and Diego Fasolis (Erato 9029585190), presents his own complete version of Gluck’s hero. The line-up is almost identical, with Baráth taking the crucial role of Amore (Cupid), while Amanda Forsythe now joins the team as a radiant but anguished Euridice. Apart from Jaroussky himself, in shimmering, meltingly ardent voice, the big attraction of this disc is the version of the score, which is the one performed at the Court Theatre in the Royal Palace at Naples in February 1774. This should be confused neither with the pastiche version given at the nearby Teatro San Carlo a few months later, nor the authentic Paris version (in French, substantially revised and expanded by Gluck) of the same year. The main features of the February 1774 Naples version are the adaptation of the role of Orfeo to a male soprano register, the more modest scoring (no chalumeaux, cornetts or trombones), and the inclusion of two substitute numbers by Diego Naselli. The result is a notably brighter soundworld, with a more compact feel to it, but all the main attractions are still here, Orfeo’s arias ‘Che puro ciel’ and ‘Che farò senza Euridice’, and the Dance of the Blessed Spirits among them.
Jaroussky, with his naturally feathery tone and high vocal range, sings the revised vocal line as if it were written for him. This is one of the most compelling accounts of the role on disc, by turns mournful, impulsive, persuasive and distraught. He is splendidly partnered by Forsythe and Baráth, who match him in emotional involvement: you can really feel the tension rise in the voices as Euridice, following a seemingly detached Orfeo out of the Underworld, becomes increasingly bewildered and disheartened. And the deus ex machina ending, in which Amore restores both Euridice and Orpheus to earthly life, far from sounding tacked-on, feels like a wholly natural and necessary resolution.
Under Fasolis’s alert direction the period instruments of I Barrochisti are typically forthright, the strings edging away at the overture’s clipped appoggiaturas, the horns gloriously full-throated, but they know how to dance too. The woodwind solos, especially the (uncredited) flute, are winningly done, while Orfeo’s lyre (actually a harp played by Masako Art) is marvellously delicate and poised. The Radiotelevisione Svizzera Chorus may sound a little static for dramatic purposes, but they sing well enough when it matters, even if sometimes feeling a shade recessed. But this is a performance to relish above all for the exquisite solo singing, which will have you falling in love with the work if you don’t already know it, and reveals new layers of beauty and intensity if you do.
Costing no more than the standard packaged version, the ‘deluxe limited edition’ is luxuriously presented as a CD-sized hardback book with colour illustrations and photographs as well as full documentation and libretto, all beautifully designed. The recording itself captures the music with a convincingly theatrical immediacy and focus, and at 78 minutes this now easily heads the field of authentic Italian versions of Gluck’s Orfeo for those wanting a single-disc audio-only account.
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