Gluck: Orfeo ed Euridice

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Jacobs conducts an urgent, pungently characterised performance — BBC Music Magazine, April 2009 More…

Catalogue No: HMC901742/43
Label: Harmonia Mundi
Length: 90 minutes

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Gluck: Orfeo ed Euridice

Work length1:30:22

$33.00

$41.25

Overtura

Track length2:46

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Act I, Scene 1, Coro: Ah! Se intorno a quest'urna funesta

Track length3:18

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Act I, Scene 1, Orfeo: Basta, basta, o compagni!

Track length0:53

$1.00

$1.25

Act I, Scene 1, Ballo. Larghetto

Track length2:49

$1.00

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Act I, Scene 1, Coro: Ah, se intorno a quest'urna funesta

Track length2:23

$1.00

$1.25

Act I, Scene 1, Orfeo: Chiamo il mio ben così

Track length6:41

$1.00

$1.25

Act I, Scene 1, Orfeo: O Numi ! Barbari numi

Track length2:44

$1.00

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Act I, Scene 2, Amore: Gli sguardi trattieni

Track length2:54

$1.00

$1.25

Act I, Scene 2, Orpheo: Che disse! Che ascoltai!

Track length2:22

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Act II, Scene 1, Ballo e Coro (Maestoso): Chi mai dell'Erebo

Track length1:54

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Act II, Scene 1, Ballo e Coro (Presto): Chi mai dell'Erebo

Track length1:56

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Act II, Scene 1, Ballo e Aria con Coro: Deh! Placatevi con me

Track length4:17

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Act II, Scene 1, Coro: Misero giovane!

Track length0:52

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Act II, Scene 1, Orfeo: Mille pene, ombre moleste

Track length0:59

$1.00

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Act II, Scene 1, Coro e Orfeo: Ah! Quale incognito -Men tiranne ah, voi sareste - Ah! Quale incognito

Track length3:11

$1.00

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Act II, Scene 2, Ballo. Andante

Track length2:05

$1.00

$1.25

Act II, Scene 2, Orfeo: Che puro ciel!

Track length5:37

$1.00

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Act II, Scene 2, Coro: Vieni ai regni del riposo

Track length1:39

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Act II, Scene 2, Ballo. Andante

Track length2:29

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Act II, Scene 2, Orfeo: Anime avventurose

Track length0:46

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Act II, Scene 2, Coro: Torna, o bella, al tuo consorte

Track length1:28

$1.00

$1.25

Act III, Scene 1, Orfeo ed Euridice: Vieni! Segui i miei passi

Track length5:44

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$1.25

Act III, Scene 1, Orfeo ed Euridice: Vieni, appaga il tuo consorte!

Track length3:12

$1.00

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Act III, Scene 1, Orfeo: Qual' vita è questa mai

Track length5:13

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Act III, Scene 1, Orfeo ed Euridice: Ecco un nuovo tormento!

Track length3:28

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"Act III, Scene 1, Orfeo: Che farò senza Euridice? "

Track length4:28

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Act III, Scene 2, Orfeo, Amore de Euridice: Ah! finisca e per sempre

Track length3:17

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Act III, Scene 3, Ballo ultimo. Maestoso

Track length0:21

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Act III, Scene 3, Ballo. Grazioso

Track length2:18

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Act III, Scene 3, Ballo. Allegro

Track length2:16

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Act III, Scene 3, Ballo. Andante

Track length1:08

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Act III, Scene 3, Ballo. Allegro

Track length2:16

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Act III, Scene 3, Coro, Orfeo, Amore ed Euridice: Trionfi Amore, e il mondo intiero

Track length2:38

$1.00

$1.25

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1762 Viennese version in Italian, recorded 2001

Reviews

April 2009

Jacobs conducts an urgent, pungently characterised performance

2010

Orfeo comes in many guises. There's Gluck's original Italian version, composed for Vienna in 1762, his adjusted version for Parma in 1769, his French revision of 1774 for Paris, and then the numerous, posthumous compromise texts that seek the best of both worlds by incorporating sections of the French version within the framework of the Italian. This version is 'pure' Italian, and although this means forgoing such famous and affecting music as the Dance of the Blessed Spirits, 'Cet asile' and the enhanced ending to 'Che farò', as well as the big D minor Dance of the Furies, it does offer a much more concentrated experience.
The tone of the performance is set by the highly energetic overture, with its forceful accents and its sharply defined textures and dynamics. Jacobs takes pains throughout to give a clear yet also rich quality to Gluck's highly original orchestral textures and to shape his phrases with style and awareness of the omnipresence of dance. However, it's the singer of Orpheus, even more than the conductor, who gives character to a performance of this work.
Often nowadays it's sung by a countertenor in preference to the contralto long favoured in the role, which was composed for a castrato anyway.
So which voice better suits the semi-divine Orpheus? Ultimately it depends on the artistry of the singer. Bernarda Fink sings the role here very beautifully and quite unaffectedly. Her great strength lies in her smooth, natural and very even tone and her command of line.
This is probably the best version of the Italian original with a woman as Orpheus, and can be recommended without hesitation to anyone who prefers to avoid the male alto voice. If you prefer to stick with the male voice the choice lies between Michael Chance's beautifully sung version under Frieder Bernius (Sony) and Derek Lee Ragin's ardent impersonation in Gardiner's account; both are revealing, in quite different ways, of this very special work.

Special offer. Gluck: Orfeo ed Euridice

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