Gluck - Orfeo ed Euridice
£14.49
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Label: Pentatone
Cat No: PTC5186805
Format: CD
Number of Discs: 1
Genre: Opera
Release Date: 11th October 2019
Contents
Artists
Iestyn Davies (countertenor)Sophie Bevan (soprano)
Rebecca Bottone (soprano)
La Nuova Musica
Conductor
David BatesWorks
Orfeo ed Euridice (Orpheus and Eurydice)Artists
Iestyn Davies (countertenor)Sophie Bevan (soprano)
Rebecca Bottone (soprano)
La Nuova Musica
Conductor
David BatesAbout
La Nuova Musica and its artistic director David Bates are among the most exciting young Baroque ensembles of our times. For their first Pentatone recording, they work together with three exceptional vocalists: countertenor Iestyn Davies and sopranos Sophie Bevan and Rebecca Bottone.
Cast:
- Orfeo: Iestyn Davies (countertenor)
- Euridice: Sophie Bevan (soprano)
- Amore: Rebecca Bottone (soprano)
Sound/Video
Paused
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1Overture
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2Act 1 - Ah! se intorno a quest'urna funesta (Coro)
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3Act 1 - Basta, basta, o compagni (Orfeo)
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4Act 1 - Ballo. Larghetto
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5Act 1 - Ah! se intorno a quest'urna funesta (Coro)
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6Act 1 - Chiamo il mio ben cosi (Orfeo)
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7Act 1 - Euridice! (Orfeo)
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8Act 1 - Cerco il mio ben cosi (Orfeo)
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9Act 1 - Euridice! (Orfeo)
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10Act 1 - Piango il mio ben cosi (Orfeo)
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11Act 1 - Numi! barbari numi! (Orfeo)
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12Act 1 - T'assiste Amore (Amore/Orfeo)
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13Act 1 - Gli shuardi trattieni (Amore)
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14Act 1 - Che disse! che ascoltai! (Orfeo)
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15Act 1 - Presto
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16Act 2 - Ballo
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17Act 2 - Chi mai dell' Erebo (Coro)
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18Act 2 - Ballo
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19Act 2 - Chi mai dell' Erebo (Coro)
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20Act 2 - Ballo
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21Act 2 - Deh! placatevi con me (Orfeo/Coro)
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22Act 2 - Misero giovane! (Coro)
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23Act 2 - Mille pene (Orfeo)
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24Act 2 - Ah, quale incognito affetto flebile (Coro)
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25Act 2 - Men tiranne, ah! voi saraste (Orfeo)
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26Act 2 - Ah, quale incognito affetto flebile (Coro)
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27Act 2 - Ballo
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28Act 2 - Ballo
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29Act 2 - Che puro ciel (Orfeo/Coro)
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30Act 2 - Vieni a'regni del riposo (Coro)
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31Act 2 - Ballo
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32Act 2 - Anime avventurose (Orfeo/Coro)
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33Act 2 - Torna, o bella, al tuo consorte (Coro)
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34Act 3 - Vieni: segui i miei passi (Orfeo/Euridice)
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35Act 3 - Vieni: appaga il tuo consorte (Orfeo/Euridice)
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36Act 3 - Qual vita e questa mai (Euridice)
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37Act 3 - Che fiero momento! (Euridice)
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38Act 3 - Ecco un nuovo tormento! (Orfeo/Euridice)
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39Act 3 - Ahime! dove trascori (Orfeo)
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40Act 3 - Che faro senza Euridice!
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41Act 3 - Ma finisca, e per sempre, co' la vita il dolor! (Orfeo)
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42Act 3 - Orfeo, che fai? (Amore/Orfeo)
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43Act 3 - Scena ultima: Ballo - Trionfi Amore (Orfeo/Coro/Amore/Euridice)
Europadisc Review
Joining David Bates and his excellent period group La Nuova Musica is star countertenor Iestyn Davies, whose velvety voice is ideally suited to a role in which the ability to melt the hearts of furies and spectres combines with the need to convey fundamentally human passions, hopes and fears. It is not just in the honeyed tones of his ballad-like songs (‘Chiamo il mio ben così’, ‘Deh! Placatevi con me’, ‘Che puro ciel’ and above all the heart-stopping ‘Che farò senza Euridice’) that Davies excels, but also in the urgency of his delivery in the more declamatory passages, revealing a beating heart and burning love while never overstepping the limits of classical propriety. This is an account of the role that brings to mind contemporary descriptions of its first creator, the great mezzo-soprano castrato Gaudagni, famed for his acting skills as much as for his singing voice. Davies brings Orpheus unerringly to life, in an opera in which, for all its mythological setting, humanity is everything.
Alongside Davies, soprano Rebecca Bottone is a vivacious Cupid, her Act 1 aria ‘Gli sguardi trattieni’ delivered with just the right degree of teasing knowingness. Sophie Bevan is a radiant EurIdice, impassioned, spirited and, in her crucial Act 3 aria ‘Che fiero momento!’, a whirlpool of emotions and doubts, all delivered with intense musicality and stylishness. In the opera’s first two acts it is the chorus that, together with Orpheus himself, takes the main musical burden, and the voices of La Nuova Musica are ideally balanced and consistently alert, whether as mourners, furies or the spirits of the Elysian fields. Their stern responses to Orpheus’s pleading in the Hades scene are thrillingly incisive, while judicious use of thunder sheets and a wind machine makes the journey from the opening scene to the Underworld a vivid one. The chorus’s reappearance for Calzabigi’s ‘happy ending’ has a toe-tappingly festive feel to it.
Under David Bates, the Nuova Musica orchestra works wonders with Gluck’s restrained yet masterly scoring, from the funereal cornett and trombones of the opening to the flutes and harp that make such a crucial part of the opera’s soundworld. Particularly moving is the echoing of Orpheus’s voice by the flutes in ‘Chiamo il mio ben così’, while the ever-popular ‘Che farò senza Euridice’ receives a performance that resonates long after the opera has finished. The Pentatone team, headed by producer Jonathan Freeman-Attwood and engineer David Hinitt, have done an exceptional job in capturing the opera live from a May 2018 performance in St John’s Smith Square, without any intrusive noises, and the accompanying booklet contains the full Italian libretto with an English translation. Amazingly, even with the addition of one instrumental number from the 1774 Paris revision (track 28), the entire opera is accommodated on a single disc of 88’33”, allowing the listener to enjoy this exceptionally moving yet compact opera at a single sitting. Outstanding even in a competitive field, this is a performance that deserves to be heard by opera lovers everywhere.
Reviews
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