Competition here will have as much to do with texts as with performances. Clearly stated on the box of the Eurodisc set is 'Vienna version 1762' while Decca keep quiet about theirs.
Wisely so very probably, for Solti has shopped around in Vienna, Paris and Milan, coming up with a version which may claim to contain the best of each but in doing so may not have the special character of any. Additions to the original score of 1762 include the Dance of the Blessed Spirits, the trio of the principals in Act 3 and probably the most haunting phrase of all, 'Euridice non e piu ed io vivo ancora' in Act 1. Musical losses in the later versions are few though among them is the alternative dance, a charming composition in its own right. Dramatically, the expansions for Paris sacrificed tautness and attack. The Solti recording brings Act 1 to an end with the 'brilliant' aria for Orfeo by Ferdinando Bertoni and taken from his Tancredi (as a note in the Decca text specifies), its brilliance lying not so much in the music as in the opportunities for florid singing, otherwise absent from the opera.
Impressive as Marilyn Horne's performance is, everything at this point leads forward into Act 2, and to go straight there (as in the Hager recording) is more impressive still. Horne's richness of tone is a questionable asset here as it makes her more inescapably feminine.
The relatively loose and wide vibrations are also in fairly marked contrast to the firm definition of Lipovsek's voice, which at times calls to mind the young Janet Baker. But Baker had a stronger dramatic presence than either of these, much more eloquent, for instance, in conveying a sense of grief at Euridice's second death where the others manage little more than blank astonishment. In 'Che faro' Horne and Solti have a boldness of style and spirit that draws them close to the heart of an aria which for all its beauty is notoriously hard to invest with real emotional conviction. The briskness of Lipovsek and Hager gains something in urgency but loses in pathos.
Nor are the other singers at all fully satisfying in their roles. Lorengar is a tremulous Euridice for Solti but at least more imaginative and vulnerable than Popp, the better singer, with Hager. Hager's Amor, Julie Kaufmann, is pleasant but lacks character, and Helen Donath's shallow prettiness is not the answer. Neither recording provides a full answer to the needs of either of the performing versions: if bought, it would be as an interim measure in the course of which they would certainly not fail to make it very clear why the opera (in whichever text) has such an enduring place in the repertoire.'
Words from the Stage Director: Our production will embrace the mythic, the mysterious and the miraculous, as we reconnect with what made Gluck’s opera revolutionary from the beginning. I’m excited to have Krissy Richmond work on the movement and dance, which is so pivotal in this opera. She is a consummate artist, having been a Principal Dancer with the Houston Ballet, and going on to enjoy an international career. A Houston treasure, she brings elegance and creativity to everything she touches. — Leslie Swackhamer. Leslie Swackhamer Stage Director Leslie Swackhamer is a director of opera and theatre, particularly known for directing works with bravura ensembles and visuals.
She was named Best Director of 2015 by The Houston Press for her production of Marie Antoinette at the Stages Repertory Theater. A passionate advocate of new plays and work by women, she is the Executive Director of the Susan Smith Blackburn Prize, the oldest and largest prize specifically for women playwrights. She also founded the Women Playwright's Festival in Seattle at A Contemporary Theatre and Hedgebrook. She has workshopped, directed or produced over 100 new works at theatre and opera companies across America. Jingyang Jiang. Opera companies where she has directed include Vancouver Opera, Opera Carolina, Seattle Opera, Houston Grand Opera, Opera Omaha, Madison Opera, Dayton Opera, Opera in the Heights, and, The San Francisco Opera.
She has held artistic leadership positions at The Cleveland Play House and ACT Theatre (Seattle). Based in Houston, she directs at Stages Repertory Theatre: Marie Antoinette (Winner of the Houston Press Theater Award for Best Director), Failure: A Love Story, In the Next Room, The Great American Trailer Park Musical, Amy’s View, The Man From Nebraska, The Andrews Brothers and Lady. Theatres where her work has been produced around the nation include Southcoast Rep, Madison Rep, Seattle Rep, The Empty Space, Florida Studio Theatre, Seattle Shakespeare, The Cherry Lane, ACT Theatre, The Cleveland Play House, American Stage, Cleveland Public, Intiman Theatre, Brave New Works (Atlanta), and The Playwrights Center.
Swackhamer holds an MFA in directing from the University of Washington School of Drama. She is a member of the AGMA, SDC, and Canadian Actor's Equity.
Ferrier in Orfeo & Eurydice (1949) The opera was first performed in Vienna at the on 5 October 1762, for the celebrations of the. The production was supervised by the reformist theatre administrator, Count. Choreography was by, and set designs were by, both leading members of their fields. The first Orfeo was the famous. Orfeo was revived in Vienna during the following year, but then not performed until 1769. For the performances that took place in London in 1770, Guadagni sang the role of Orpheus, but little of the music bore any relation to Gluck's original, with – 'the English Bach' – providing most of the new music. Conducted a performance of the Italian version at in 1776.
During the early 19th century, became particularly well known for his performances of Orpheus at the Paris Opera. In 1854 conducted the work at, composing a symphonic poem of his own to replace Gluck's original overture.
Typically during the 19th century and for most of the 20th century, the role of Orfeo was sung by a female, and noted interpreters of the role from this time include Dame and, and the, Dame, and (at the ). Among conductors, was a notable proponent of the opera. His November 1952 radio broadcast of act 2 was eventually released on and. Revised versions.
's opera Orfeo ed Euridice, arguably the greatest opera of the 18th century before, has an unusually complicated textual history. It exists in its original Italian and a later French version, with musical revisions and different voice ranges, and the two have been combined in various ways, once by none other than, and put back into Italian. So, although it may seem odd to start off this three-disc set with a mashup of the 1762 Vienna and 1774 Paris versions, in Italian, which the performers call 'Orpheo,' such manipulation is in keeping with what has been done to the opera over its history. In fact, it may be handy to have a sort of highlights reel; the first disc matches how the performers have presented the music in concert. It is followed by a complete recording of the 1762 version. But really the strength of this recording lies in the performances themselves, which combine the efforts of two disparate creative figures gorgeously. The part of Orfeo, in its original range as written for the castrato, is sung by the Argentine countertenor, whom conductor bills as unmatched in this repertory right now; it is hard to argue with her.
's language in this 'reform' opera is less athletic than the music of the composers in the generation that preceded him, but proves himself a master of sheer cantabile. And he is matched beautifully by the French choir and the period-instrument orchestra under the direction of. Has recorded music from outside the Baroque and Classical periods, cultivating a sensuous, smooth, rich surface, and when this bounces off 's voice, the results can be spine-tingling. Check out a track that combines the two, such as the aria 'Deh, placatevi con me,' for the full effect.
Gluck Orfeo Ed Euridice Melodie
Chariots of the gods ebook epub. The rest of the cast is uniformly strong, and this is in general a very fine recording that puts across how physically compelling 's opera must have been in its own time.
Gluck in a 1775 portrait by Christoph Willibald ( von) Gluck ( German:; 2 July 1714 – 15 November 1787) was a of and in the early. Born in the (now part of Germany) and raised in, he gained prominence at the court at Vienna, where he brought about the practical reform of opera's dramaturgical practices that many intellectuals had been campaigning for over the years. With a series of radical new works in the 1760s, among them and, he broke the stranglehold that had enjoyed for much of the century.
The strong influence of French opera in these works encouraged Gluck to move to Paris, which he did in November 1773. Fusing the traditions of Italian opera and the French national genre into a new synthesis, Gluck wrote eight operas for the Parisian stages.
Gluck Orfeo Ed Euridice
One of the last of these, was a great success and is generally acknowledged to be his finest work. Though he was extremely popular and widely credited with bringing about a revolution in French opera, Gluck's mastery of the Parisian operatic scene was never absolute, and after the poor reception of his he left Paris in disgust and returned to Vienna to live out the remainder of his life.
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