Tuesday, September 28, 2010
Tuesday, September 7, 2010
Why we prefer a simple "Orfeo"
Sartorio's "Orfeo", rather:
The plot is extremely complicated. In Aureli and Sartorio's version of the story, Aristaeus is Orpheus's brother and he too is in love with Eurydice, which makes Orpheus jealous. Aristaeus rejects the love of Autonoe who disguises herself as a gypsy to be near him and enlists the help of Achilles and Hercules. The jealous Orpheus plans to have Eurydice murdered in a forest but Eurydice dies when she steps on a snake while trying to flee Aristaeus. Orpheus sets off for the underworld to bring Eurydice back to life. Pluto, the ruler of the underworld, is won over by his singing and releases Eurydice on condition that Orpheus does not look at her before they have reached the land of the living. But Orpheus turns roundd and Eurydice is lost again. Aristaeus finally accepts the love of Autonoe and the two are married.
The plot is extremely complicated. In Aureli and Sartorio's version of the story, Aristaeus is Orpheus's brother and he too is in love with Eurydice, which makes Orpheus jealous. Aristaeus rejects the love of Autonoe who disguises herself as a gypsy to be near him and enlists the help of Achilles and Hercules. The jealous Orpheus plans to have Eurydice murdered in a forest but Eurydice dies when she steps on a snake while trying to flee Aristaeus. Orpheus sets off for the underworld to bring Eurydice back to life. Pluto, the ruler of the underworld, is won over by his singing and releases Eurydice on condition that Orpheus does not look at her before they have reached the land of the living. But Orpheus turns roundd and Eurydice is lost again. Aristaeus finally accepts the love of Autonoe and the two are married.
Recordings of Landi's "Orfeo"
La morte d'Orfeo Elwes, Koslowski, Cordier, van der Kamp, Tragicomedia, conducted by Stephen Stubbs (Accent, 1987)
La morte d'Orfeo Auvity, Laurens, Visse, van Elsacker, Guillon, Bucher, Akadêmia, conducted by Françoise Lasserre (Zig Zag Territoires, 2007)
La morte d'Orfeo Auvity, Laurens, Visse, van Elsacker, Guillon, Bucher, Akadêmia, conducted by Françoise Lasserre (Zig Zag Territoires, 2007)
comparing "Che faro senza Euridice" with Monteverdi -- on DVD
Check with DVD Monteverdi's "Orfeo" for his reaction upon the vanishing of Euridice. Also with Baker -- Glyndebourne DVD.
Recordings of Caccini's opera, "Orfeo ed Euridice" (1600)
Euridice Soloists, Rennes Chorus and Orchestra, conducted by Rodrigo de Zayas (Arion, 1980)
L'Euridice Scherzi Musicali, Nicolas Achten (Ricercar, 2008) [1]
L'Euridice Scherzi Musicali, Nicolas Achten (Ricercar, 2008) [1]
Dates of some Italian "Orfeos" from 1600 onwards
1600. Jacopo Peri, "Orfeo ed Euridice". Performed at Palazzo Pitti, Firenze. The first genuine opera whose music survives to this day. The role of Orfeo played by Peri and in later performances by Basi, who will create the role in Monteverdi's better known version, in Mantova.
1602 - Giulio Caccini, "Orfeo ed Euridice". Caccini's daughter had played Euridice in Peri's version. Caccini managed to publish his own opera before Peri, but it was not performed till 1602.
1607 - Claudio Monteverdi – Monteverdi's "Orfeo", widely regarded as the first operatic masterwork.
1616 - Domenico Belli - "Orfeo dolente".
1619 - Stefano Landi – "La morte d'Orfeo"
1647 - Luigi Rossi – "Orfeo".
1654 - Carlo d'Aquino – Orfeo
1672 - Antonio Sartorio – Orfeo
1676 - Giuseppe di Dia – Orfeo
1677 - Francesco della Torre – Orfeo
1683 - Antonio Draghi – La lira d' Orfeo
1689 - Bernardo Sabadini – Orfeo
1690 - Luigi Lulli – Orfeo.
1699 - André Campra – Orfeo nell'inferni
1715 - Johann Joseph Fux – Orfeo ed Euridice
1749 - Giovanni Alberto Ristori – I lamenti d'Orfeo
1762 - Christoph Willibald Gluck – Orfeo ed Euridice. Contains: "Che faro senza Euridice?", also set by Bertoni. Published by Ricordi 1889. Recorded by Tito Schipa with the Milano orchestra "Grammofono" and by Pavarotti in concert (to piano accompaniment).
1775 - Antonio Tozzi – Orfeo ed Euridice
1776 - Ferdinando Bertoni – Orfeo ed Euridice (to the same libretto as Gluck's more famous work)
1781 - Luigi Torelli – Orfeo
1789 - Vittorio Trento – Orfeo negli Elisi
1791 - Joseph Haydn – L'anima del filosofo, ossia Orfeo ed Euridice. On DVD with Bertoli.
1791 - Ferdinando Paer – Orfeo.
1796 - Luigi Lamberti – Orfeo
1796 - Francesco Morolin – Orfeo ed Euridice
1814 - Marchese Francesco Sampieri – Orfeo.
1858 - Jacques Offenbach - Orphée aux enfers. On DVD.
1925 - Gian Francesco Malipiero – L'Orfeide.
1932 - Alfredo Casella – La favola d'Orfeo, chamber opera after Poliziano's L'Orfeo
1996 - Lorenzo Ferrero - Orfeo, musical action in one act, libretto by Lorenzo Ferrero and Dario Del Corno, premiered at the Teatro Filarmonico
1602 - Giulio Caccini, "Orfeo ed Euridice". Caccini's daughter had played Euridice in Peri's version. Caccini managed to publish his own opera before Peri, but it was not performed till 1602.
1607 - Claudio Monteverdi – Monteverdi's "Orfeo", widely regarded as the first operatic masterwork.
1616 - Domenico Belli - "Orfeo dolente".
1619 - Stefano Landi – "La morte d'Orfeo"
1647 - Luigi Rossi – "Orfeo".
1654 - Carlo d'Aquino – Orfeo
1672 - Antonio Sartorio – Orfeo
1676 - Giuseppe di Dia – Orfeo
1677 - Francesco della Torre – Orfeo
1683 - Antonio Draghi – La lira d' Orfeo
1689 - Bernardo Sabadini – Orfeo
1690 - Luigi Lulli – Orfeo.
1699 - André Campra – Orfeo nell'inferni
1715 - Johann Joseph Fux – Orfeo ed Euridice
1749 - Giovanni Alberto Ristori – I lamenti d'Orfeo
1762 - Christoph Willibald Gluck – Orfeo ed Euridice. Contains: "Che faro senza Euridice?", also set by Bertoni. Published by Ricordi 1889. Recorded by Tito Schipa with the Milano orchestra "Grammofono" and by Pavarotti in concert (to piano accompaniment).
1775 - Antonio Tozzi – Orfeo ed Euridice
1776 - Ferdinando Bertoni – Orfeo ed Euridice (to the same libretto as Gluck's more famous work)
1781 - Luigi Torelli – Orfeo
1789 - Vittorio Trento – Orfeo negli Elisi
1791 - Joseph Haydn – L'anima del filosofo, ossia Orfeo ed Euridice. On DVD with Bertoli.
1791 - Ferdinando Paer – Orfeo.
1796 - Luigi Lamberti – Orfeo
1796 - Francesco Morolin – Orfeo ed Euridice
1814 - Marchese Francesco Sampieri – Orfeo.
1858 - Jacques Offenbach - Orphée aux enfers. On DVD.
1925 - Gian Francesco Malipiero – L'Orfeide.
1932 - Alfredo Casella – La favola d'Orfeo, chamber opera after Poliziano's L'Orfeo
1996 - Lorenzo Ferrero - Orfeo, musical action in one act, libretto by Lorenzo Ferrero and Dario Del Corno, premiered at the Teatro Filarmonico
A different setting to "Che faro senza Euridice?" first heard in Venice
Bertoni's "Orfeo" opened in Venice, at the Teatro San Benedetto, 1776), based on the same libretto of Ranieri de' Calzabigi of the work of Gluck.
possibly the best image, and coloured too---for songbook
possibly the best image, and coloured, too.
Che farò senza Euridice!
by Luigi Speranza for "Gli Operai" jlsperanza@aol.com
I
Che farò senza Euridice? J'ai perdu mon Eurydice.
Dove andrò senza il mio ben? Rien n'égale mon malheur.
Che farò? Dove andrò? Sort cruel! Quelle rigueur!
Che farò senza il mio ben? Rien n'égale mon malheur.
Dove andrò senza il mio ben? Je succombe à ma douleur.
II
(a)
Euridice! Euridice! Eurydice! Eurydice!
Oh Dio, rispondi! Réponds! Quel supplice!
Rispondi! Réponds-moi!
(b)
Io son pure il tuo fedel. C'est ton époux, ton époux fidèle.
Io son pure il tuo fedel. Entends ma voix qui t'appelle,
il tuo fedel. ma voix qui t'appelle.
III
Che farò senza Euridice? J'ai perdu mon Eurydice.
Dove andrò senza il mio ben? Rien m'égale mon malheur.
Che farò? Dove andrò? Sort cruel! Quelle rigueur!
Che farò senza il mio ben? Rien m'égale mon malheur.
Dove andrò senza il mio ben? Je succombe à ma doleur.
IV
(a)
Euridice! Euridice! Euydice! Eurydice!
(b)
Ah, non m'avanza Mortel silence!
Più soccorso, più speranza Vaine esperance! Quelle souffrance!
Né dal mondo né dal ciel. Quel tourment déchire mon cœur.
V
Che farò senza Euridice? J'ai perdu mon Eurydice.
Dove andrò senza il mio ben? Rien m'egale mon malheur.
Che fafò? Dove andrò? Sort cruel! Quelle rigueur!
che faro senza il mio ben Rien m'égale mon malheur.
Che farò? Dove andrò? Sort cruel! Quelle rigueur!
Che farò senza il mio ben? J'ai succombe à ma doleur,
Senza il mio ben? à ma doleur,
Senza il mio ben? à ma doleur.
NOTES.
For what is worth (a lot, :) -- since you won't find this online, this far!) the strict comparison, line-by-line of Ranieri de' Calzabigi and Moline's translation, which Ricordi ignored when he omitted it in the 1889 edition. One may do with a strict analysis of 'performative' acts. The Italian version is all about 'rhetorical' questions, almost -- although not quite. Some say that Orfeo is a controversial figure. So, when he says, "What shall I do WITHOUT Eurydice?" he may MEAN it. As it happens, he became so disilussioned with women after this disgrace that it provoked the reaction by the Furies who dismember him. I understand this was the original Monteverdi ending which he was forced to adapt for the wedding of de Medici, or something.
lines 1-2.
So, to the 'question', "Che faro, dove andro?", the French offers a statement: "J'ai perdu mon Eurydice". (In fact, this has been parodied, elsewhere, as "J'ai TROUVE mon Eurydice"). Again, the second 'rhetoric' question ("Where will I go without my good?") becomes another statement, however spiritual, "Rien n'egale mon malheur".
lines 3-4.
The loveliness of the interrupted questions in the Italian, "What shall I do, where shall I go" (che faro, dove andro) are turned into 'exclamatives' in French. In fact, I find one exclamative too many in the French. So the first here are "Sort cruel!" corresponding to the abbreviated question, "Che faro", and the proper exclamative, "Quelle rigueur" for the "dove andro".
line 5.
The next divergence is the introduction of a NEW proposition in the first 'stanza', 'Je succombe a ma doleur' in the French. The Italian just does with a repetition of previous, er, questions, notably the second: "Dove andro senza il mio ben?".
line 5.
Now, we can examine the rhyme in the first stanza. The French manages with a perfect consonant rhyme in a trio: malheur--rigueur--douleur. Which is unavailable in Italian, which merely has, but I love it, still, 'mio ben', rhyiming with 'mio ben', rhyming with 'mio ben'!
line 6-7.
In the second 'stanza', Moline manages to introduce 'suplice' to rhyme with "Eurydice" of the 'vocative' (one vocative too many, for my taste, in this arietta). Instead, the Italian, rather clumsily, introduces a different emphatic, "Oh Dio", which sort of puts me off slightly. I do tend to use this exclamative often, but without MEANING it. How many of us, do say, "Oh my God" withOUT meaning it. I think this is the case with Orfeo. In any case, in those days, they believed in like 15 gods, so we are not sure who he is thinking. So this must be Cazalbigi.
Line 8
Another feature of interest is the 'moi' in the 'responds-moi'. The Italian does with a rather more effective repetition of the 'rispondi'. The second one is exactly a gem in the octave range it covers. Instead the French does not really repeat the cri-de-coeur. It has 'responds' on one line and 'responds-MOI' in the second. As if Eurydice could respond to someone OTHER than the inquirer.
line 9-10.
The (b) section of this second stanza offers a new introduction of a new proposition in the French text that is not covered in the original Italian. It's the line, "entends ma voix qui t'appelle". The Italian does with the 'husband' motif. After all, the play -- and especially the Monteverdi -- opens, effectively, with the WEDDING. This is some sort of 'honeymoon' in hell they are suffering. She possibly died a virgin. So, it is 'meant' that Orfeo sees himself as 'il tuo fedel'. The French introduces, hyperbolically, 'epoux' (spouse) and instead of sticking to the repetition of the 'ALWAYS' (pure) your faithful one (il tuo fedel) adds this point about 'hear my voice that calls for you'.
line 12.
While the rhyme in the next section in Italian is magisterial (speranza, avanza -- or 'avanza', 'speranza', rather) the French manages even perhaps better with the addition of a THIRD -ance ending word. So we have 'silence' (to match 'avanza') and 'esperance' which matches 'speranza' -- but it adds "quel souffrance'. Yet another 'exclamative'. When I write 'proper' exclamative I mean the use of the wh- pronoun followed by the noun. Quelle souffrance. When we say, "What beauty!", what do we mean? I contend that we mean something like "This is SOME beauty". I.e. the use of the interrogative pronoun in the exclamative use is quite a bother, pragmatic. It has the form of a question, but it's an exclamation, and what is 'exclaimed' is just IMPLICATED. What suffering! Meaning -- what?
line 13.
While we cannot say that the Italian text is structured in terms of LONG phrases, one of the longest, grammatical, is that 'avanza--speranza' one which ends with 'ne dal ciel'. I.e. the whole section is just ONE proposition. "I have no hope on earth or heaven", he is saying. Instead the French version prefers to cut the proposition short -- instead of the locative, 'in earth as in heaven' we find a new proposition, with, yes, another exclamative, 'quel tournment dechire mon coeur'.
---- Next: to locate in the classical literature -- of the Greeks preferably -- anything similar coming from the VOICE of "Orfeo".
Or something --.
I
Che farò senza Euridice? J'ai perdu mon Eurydice.
Dove andrò senza il mio ben? Rien n'égale mon malheur.
Che farò? Dove andrò? Sort cruel! Quelle rigueur!
Che farò senza il mio ben? Rien n'égale mon malheur.
Dove andrò senza il mio ben? Je succombe à ma douleur.
II
(a)
Euridice! Euridice! Eurydice! Eurydice!
Oh Dio, rispondi! Réponds! Quel supplice!
Rispondi! Réponds-moi!
(b)
Io son pure il tuo fedel. C'est ton époux, ton époux fidèle.
Io son pure il tuo fedel. Entends ma voix qui t'appelle,
il tuo fedel. ma voix qui t'appelle.
III
Che farò senza Euridice? J'ai perdu mon Eurydice.
Dove andrò senza il mio ben? Rien m'égale mon malheur.
Che farò? Dove andrò? Sort cruel! Quelle rigueur!
Che farò senza il mio ben? Rien m'égale mon malheur.
Dove andrò senza il mio ben? Je succombe à ma doleur.
IV
(a)
Euridice! Euridice! Euydice! Eurydice!
(b)
Ah, non m'avanza Mortel silence!
Più soccorso, più speranza Vaine esperance! Quelle souffrance!
Né dal mondo né dal ciel. Quel tourment déchire mon cœur.
V
Che farò senza Euridice? J'ai perdu mon Eurydice.
Dove andrò senza il mio ben? Rien m'egale mon malheur.
Che fafò? Dove andrò? Sort cruel! Quelle rigueur!
che faro senza il mio ben Rien m'égale mon malheur.
Che farò? Dove andrò? Sort cruel! Quelle rigueur!
Che farò senza il mio ben? J'ai succombe à ma doleur,
Senza il mio ben? à ma doleur,
Senza il mio ben? à ma doleur.
NOTES.
For what is worth (a lot, :) -- since you won't find this online, this far!) the strict comparison, line-by-line of Ranieri de' Calzabigi and Moline's translation, which Ricordi ignored when he omitted it in the 1889 edition. One may do with a strict analysis of 'performative' acts. The Italian version is all about 'rhetorical' questions, almost -- although not quite. Some say that Orfeo is a controversial figure. So, when he says, "What shall I do WITHOUT Eurydice?" he may MEAN it. As it happens, he became so disilussioned with women after this disgrace that it provoked the reaction by the Furies who dismember him. I understand this was the original Monteverdi ending which he was forced to adapt for the wedding of de Medici, or something.
lines 1-2.
So, to the 'question', "Che faro, dove andro?", the French offers a statement: "J'ai perdu mon Eurydice". (In fact, this has been parodied, elsewhere, as "J'ai TROUVE mon Eurydice"). Again, the second 'rhetoric' question ("Where will I go without my good?") becomes another statement, however spiritual, "Rien n'egale mon malheur".
lines 3-4.
The loveliness of the interrupted questions in the Italian, "What shall I do, where shall I go" (che faro, dove andro) are turned into 'exclamatives' in French. In fact, I find one exclamative too many in the French. So the first here are "Sort cruel!" corresponding to the abbreviated question, "Che faro", and the proper exclamative, "Quelle rigueur" for the "dove andro".
line 5.
The next divergence is the introduction of a NEW proposition in the first 'stanza', 'Je succombe a ma doleur' in the French. The Italian just does with a repetition of previous, er, questions, notably the second: "Dove andro senza il mio ben?".
line 5.
Now, we can examine the rhyme in the first stanza. The French manages with a perfect consonant rhyme in a trio: malheur--rigueur--douleur. Which is unavailable in Italian, which merely has, but I love it, still, 'mio ben', rhyiming with 'mio ben', rhyming with 'mio ben'!
line 6-7.
In the second 'stanza', Moline manages to introduce 'suplice' to rhyme with "Eurydice" of the 'vocative' (one vocative too many, for my taste, in this arietta). Instead, the Italian, rather clumsily, introduces a different emphatic, "Oh Dio", which sort of puts me off slightly. I do tend to use this exclamative often, but without MEANING it. How many of us, do say, "Oh my God" withOUT meaning it. I think this is the case with Orfeo. In any case, in those days, they believed in like 15 gods, so we are not sure who he is thinking. So this must be Cazalbigi.
Line 8
Another feature of interest is the 'moi' in the 'responds-moi'. The Italian does with a rather more effective repetition of the 'rispondi'. The second one is exactly a gem in the octave range it covers. Instead the French does not really repeat the cri-de-coeur. It has 'responds' on one line and 'responds-MOI' in the second. As if Eurydice could respond to someone OTHER than the inquirer.
line 9-10.
The (b) section of this second stanza offers a new introduction of a new proposition in the French text that is not covered in the original Italian. It's the line, "entends ma voix qui t'appelle". The Italian does with the 'husband' motif. After all, the play -- and especially the Monteverdi -- opens, effectively, with the WEDDING. This is some sort of 'honeymoon' in hell they are suffering. She possibly died a virgin. So, it is 'meant' that Orfeo sees himself as 'il tuo fedel'. The French introduces, hyperbolically, 'epoux' (spouse) and instead of sticking to the repetition of the 'ALWAYS' (pure) your faithful one (il tuo fedel) adds this point about 'hear my voice that calls for you'.
line 12.
While the rhyme in the next section in Italian is magisterial (speranza, avanza -- or 'avanza', 'speranza', rather) the French manages even perhaps better with the addition of a THIRD -ance ending word. So we have 'silence' (to match 'avanza') and 'esperance' which matches 'speranza' -- but it adds "quel souffrance'. Yet another 'exclamative'. When I write 'proper' exclamative I mean the use of the wh- pronoun followed by the noun. Quelle souffrance. When we say, "What beauty!", what do we mean? I contend that we mean something like "This is SOME beauty". I.e. the use of the interrogative pronoun in the exclamative use is quite a bother, pragmatic. It has the form of a question, but it's an exclamation, and what is 'exclaimed' is just IMPLICATED. What suffering! Meaning -- what?
line 13.
While we cannot say that the Italian text is structured in terms of LONG phrases, one of the longest, grammatical, is that 'avanza--speranza' one which ends with 'ne dal ciel'. I.e. the whole section is just ONE proposition. "I have no hope on earth or heaven", he is saying. Instead the French version prefers to cut the proposition short -- instead of the locative, 'in earth as in heaven' we find a new proposition, with, yes, another exclamative, 'quel tournment dechire mon coeur'.
---- Next: to locate in the classical literature -- of the Greeks preferably -- anything similar coming from the VOICE of "Orfeo".
Or something --.
Two-column format for "Che faro senza Euridice?"
I
Che farò senza Euridice? J'ai perdu mon Eurydice.
Dove andrò senza il mio been? Rien n'égale mon malheur
Che faro? Dove andro? Sort cruel! Quelle rigueur!
Che faro senza il mio ben? Rien n'égale mon malheur.
Dove andro senza il mio ben? Je succombe à ma douleur.
II
Euridice! Euridice! Eurydice! Eurydice!
Oh Dio, rispondi! Réponds! quel supplice!
Rispondi! Réponds-moi!
Io son pure il tuo fedel. C'est ton époux fidèle.
Io son pure il tuo fedel. Entends ma voix qui t'appelle,
il tuo fedel. ma voix qui t'appelle.
III
Che faro senza Euridice? J'ai perdu mon Eurydice.
Dove andro senza il mio ben. Rien m'egale mon malheur
Che faro, dove andro Sorte cruel, quelle rigeur
Che faro senza il mio ben Rien m'egale mon malheur
dove andro senza il mio ben. Je succombe a mon doleur.
IV
Euridice! Euridice! Eyrydice! Eurydice!
Ah, non m'avanza Mortel silence!
più soccorso, più speranza Vaine esperance! Quelle souffrance!
né dal mondo né dal ciel. Quel tourment déchire mon cœur.
V
Che farò senza Euridice? j'ai perdu mon Eurydice.
Dove andrò senza il mio ben Rien m'egale mon malheur
Che faro? Dove andro? Sorte cruel! Quelle rigeur!
che faro senza il mio ben rien m'egale mon malheur
Che faro? Dove andro? Sort cruel! Quelle rigeur!
Che faro senza il mio ben? j'ai soccombe a mon doleur
senza il mio ben? a mon doleur
senza il mio ben? a mon doleur.
Che farò senza Euridice? J'ai perdu mon Eurydice.
Dove andrò senza il mio been? Rien n'égale mon malheur
Che faro? Dove andro? Sort cruel! Quelle rigueur!
Che faro senza il mio ben? Rien n'égale mon malheur.
Dove andro senza il mio ben? Je succombe à ma douleur.
II
Euridice! Euridice! Eurydice! Eurydice!
Oh Dio, rispondi! Réponds! quel supplice!
Rispondi! Réponds-moi!
Io son pure il tuo fedel. C'est ton époux fidèle.
Io son pure il tuo fedel. Entends ma voix qui t'appelle,
il tuo fedel. ma voix qui t'appelle.
III
Che faro senza Euridice? J'ai perdu mon Eurydice.
Dove andro senza il mio ben. Rien m'egale mon malheur
Che faro, dove andro Sorte cruel, quelle rigeur
Che faro senza il mio ben Rien m'egale mon malheur
dove andro senza il mio ben. Je succombe a mon doleur.
IV
Euridice! Euridice! Eyrydice! Eurydice!
Ah, non m'avanza Mortel silence!
più soccorso, più speranza Vaine esperance! Quelle souffrance!
né dal mondo né dal ciel. Quel tourment déchire mon cœur.
V
Che farò senza Euridice? j'ai perdu mon Eurydice.
Dove andrò senza il mio ben Rien m'egale mon malheur
Che faro? Dove andro? Sorte cruel! Quelle rigeur!
che faro senza il mio ben rien m'egale mon malheur
Che faro? Dove andro? Sort cruel! Quelle rigeur!
Che faro senza il mio ben? j'ai soccombe a mon doleur
senza il mio ben? a mon doleur
senza il mio ben? a mon doleur.
Line-by-line: Italian-French, Che faro senza Euridice, J'ai perdu mon Eurydice
I
Che farò senza Euridice.
j'ai perdu mon Eurydice.
dove andrò senza il mio be-en.
rien n'égale mon malheur
che faro? dove andro?
sort cruel, quelle rigueur
che faro senza il mio ben
rien n'égale mon malheur.
dove andro senza il mio ben?
je succombe à ma douleur.
--- II
(a)
Euridice! Euridice!
Eurydice! Eurydice!
oh dio, rispondi,
réponds! quel supplice!
rispondi.
Réponds-moi!
(b)
io son pure il tuo fedel.
C'est ton époux fidèle.
io son pure il tuo fedel.
Entends ma voix qui t'appelle,
il tuo fedel.
ma voix qui t'appelle.
BACK TO I:
che faro senza Euridice?
j'ai perdu mon Eurydice.
dove andro senza il mio bene.
rien m'egale mon malheur
che faro, dove andro
sorte cruel, quelle rigeur
che faro senza il mio be-e-ne
rien m'egale mon malheur
dove andro senza il mio ben.
j'ai succombe a mon doleur.
III
Euridice, Euridice.
Eyrydice! Eurydice!
(b)
Ah, non m'avanza più soccorso, più speranza
mortel silence! vaine esperance! quelle souffrance!
né dal mondo né dal ciel.
quel tourment déchire mon cœur.
--- IV -- back to I
che farò senza Euridice?
j'ai perdu mon Eurydice.
dove andrò senza il mio ben
rien m'egale mon malheur
che faro, dove andro
sorte cruel, quelle rigeur
che faro senza il mio ben
rien m'egale mon malheur
che faro, dove andro
sort cruel, quelle rigeur
che faro senza il mio ben
j'ai soccombe a mon doleur
senza il mio ben
a mon doleur
senza il mio ben.
a mon doleur.
Che farò senza Euridice.
j'ai perdu mon Eurydice.
dove andrò senza il mio be-en.
rien n'égale mon malheur
che faro? dove andro?
sort cruel, quelle rigueur
che faro senza il mio ben
rien n'égale mon malheur.
dove andro senza il mio ben?
je succombe à ma douleur.
--- II
(a)
Euridice! Euridice!
Eurydice! Eurydice!
oh dio, rispondi,
réponds! quel supplice!
rispondi.
Réponds-moi!
(b)
io son pure il tuo fedel.
C'est ton époux fidèle.
io son pure il tuo fedel.
Entends ma voix qui t'appelle,
il tuo fedel.
ma voix qui t'appelle.
BACK TO I:
che faro senza Euridice?
j'ai perdu mon Eurydice.
dove andro senza il mio bene.
rien m'egale mon malheur
che faro, dove andro
sorte cruel, quelle rigeur
che faro senza il mio be-e-ne
rien m'egale mon malheur
dove andro senza il mio ben.
j'ai succombe a mon doleur.
III
Euridice, Euridice.
Eyrydice! Eurydice!
(b)
Ah, non m'avanza più soccorso, più speranza
mortel silence! vaine esperance! quelle souffrance!
né dal mondo né dal ciel.
quel tourment déchire mon cœur.
--- IV -- back to I
che farò senza Euridice?
j'ai perdu mon Eurydice.
dove andrò senza il mio ben
rien m'egale mon malheur
che faro, dove andro
sorte cruel, quelle rigeur
che faro senza il mio ben
rien m'egale mon malheur
che faro, dove andro
sort cruel, quelle rigeur
che faro senza il mio ben
j'ai soccombe a mon doleur
senza il mio ben
a mon doleur
senza il mio ben.
a mon doleur.
Monday, September 6, 2010
Che faro senza Euridice -- as sung by Schipa and Pavarotti
GLUCK, Orfeo (1764).
----- tenore.
------------------ rec. by Tito Schipa (with orchestra La Scala, 1932, L. Pavarotti, with piano acc. 1985)
---- DVD
piano introduction
---- vocal line:
che farò -- senza Euridice --
dove andrò -- senza il mio be-en.
che-e faro, dove-e andro
che faro senza el mio ben
do-o-ve andro se-enza il mio ben.
----
Euridice, Euridice
oh-dio -- rispondi,
---
rispo-o-o-o-ndi.
io son pure il tuo fedel.
io son pure il tuo fedel.
il tuo fed-e-l.
che faro senza Euridice
dove andro senza il mio bene.
che faro
dove andro
che faro senza il mio be-e-ne
dove andro senza il mio ben.
-----
Euridice -- Eu-u-u-ri-i-ce.
----
Ah- non m'avanza --- più soccorso
più speranza
né dal mondo ----- né-e-e-e-e- dal cie-e-e-e-l.
che farò senza Euridice
dove andrò senza il mio ben
che faro, dove andro
che faro senza il mio ben
che faro dove andro
che faro senza il mio bee-e--en
senza il mio be-e-e-n
senza il mio ben.
----- tenore.
------------------ rec. by Tito Schipa (with orchestra La Scala, 1932, L. Pavarotti, with piano acc. 1985)
---- DVD
piano introduction
---- vocal line:
che farò -- senza Euridice --
dove andrò -- senza il mio be-en.
che-e faro, dove-e andro
che faro senza el mio ben
do-o-ve andro se-enza il mio ben.
----
Euridice, Euridice
oh-dio -- rispondi,
---
rispo-o-o-o-ndi.
io son pure il tuo fedel.
io son pure il tuo fedel.
il tuo fed-e-l.
che faro senza Euridice
dove andro senza il mio bene.
che faro
dove andro
che faro senza il mio be-e-ne
dove andro senza il mio ben.
-----
Euridice -- Eu-u-u-ri-i-ce.
----
Ah- non m'avanza --- più soccorso
più speranza
né dal mondo ----- né-e-e-e-e- dal cie-e-e-e-l.
che farò senza Euridice
dove andrò senza il mio ben
che faro, dove andro
che faro senza il mio ben
che faro dove andro
che faro senza il mio bee-e--en
senza il mio be-e-e-n
senza il mio ben.
"Con che tenorita": With Gluck's "Orfeo" (del Globo) and Handel's "Serse" (Avenida), "Gli Operai" dedicate their fortnightly meeting to an examination of title roles regained for the tenor repertoire ("Che faro senza Euridice", "Ombra mai piu"). With Luigi Speranza at the piano. 5 pm. St. Michael Hall, Calle 58, No. 611, La Plata.
Sunday, September 5, 2010
Che faro senza Euridice: il tenore italiano gluckiano
by Luigi Speranza for "Gli Operai" jlsperanza@aol.com
--- as recorded by tenor N. Gedda:
J'ai perdu mon Eurydice,
Rien n'égale mon malheur;
Sort cruel! quelle rigueur!
Rien n'égale mon malheur!
Je succombe à ma douleur!
Eurydice, Eurydice,
Réponds, quel supplice!
Réponds-moi!
C'est ton époux fidèle;
Entends ma voix qui t'appelle.
J'ai perdu mon Eurydice, etc
Eurydice, Eurydice!
Mortel silence! Vaine espérance!
Quelle souffrance!
Quel tourment déchire mon cœur!
J'ai perdu mon Eurydice, etc
Ah! puisse ma douleur finir avec ma vie!
Je ne survivrai pas à ce dernier revers.
Je touche encor aux portes des enfers,
J'aurai bientôt rejoint mon épouse chérie.
Oui, je te suis, tendre objet de ma foi,
Je te suis, attends-moi!
Tu ne me seras plus ravie,
Et la mort pour jamais va m'unir avec toi.
--- as recorded by tenor N. Gedda:
J'ai perdu mon Eurydice,
Rien n'égale mon malheur;
Sort cruel! quelle rigueur!
Rien n'égale mon malheur!
Je succombe à ma douleur!
Eurydice, Eurydice,
Réponds, quel supplice!
Réponds-moi!
C'est ton époux fidèle;
Entends ma voix qui t'appelle.
J'ai perdu mon Eurydice, etc
Eurydice, Eurydice!
Mortel silence! Vaine espérance!
Quelle souffrance!
Quel tourment déchire mon cœur!
J'ai perdu mon Eurydice, etc
Ah! puisse ma douleur finir avec ma vie!
Je ne survivrai pas à ce dernier revers.
Je touche encor aux portes des enfers,
J'aurai bientôt rejoint mon épouse chérie.
Oui, je te suis, tendre objet de ma foi,
Je te suis, attends-moi!
Tu ne me seras plus ravie,
Et la mort pour jamais va m'unir avec toi.
Il tenore italiano gluckiano
by Luigi Speranza for "Gli Operai" jlsperanza@aol.com
Recordings of "Orfeo" 1774 Paris version (with tenor Orpheus)
Léopold Simoneau
(Philips mono, 1956 - reissued on CD 2001)
Nicolai Gedda
Orchestre de la Société des Concerts du Conservatoire,
Louis de Fremont
Deutsche Grammophon, mono, 1955 - reissued on CD by Profil 2009)
Jean-Paul Fouchécourt
Naxos 2002
Richard Croft
Deutsche Grammophon Archiv, 2002, released 2004
J. D. Florez
Decca 2010
David Hobson
1993, (OpusArte/Faveo and Kultur 2006).
Recordings of "Orfeo" 1774 Paris version (with tenor Orpheus)
Léopold Simoneau
(Philips mono, 1956 - reissued on CD 2001)
Nicolai Gedda
Orchestre de la Société des Concerts du Conservatoire,
Louis de Fremont
Deutsche Grammophon, mono, 1955 - reissued on CD by Profil 2009)
Jean-Paul Fouchécourt
Naxos 2002
Richard Croft
Deutsche Grammophon Archiv, 2002, released 2004
J. D. Florez
Decca 2010
David Hobson
1993, (OpusArte/Faveo and Kultur 2006).
Saturday, September 4, 2010
Che faro senza Euridice? In search for Orfeo the tenor
by Luigi Speranza for "Gli Operai" jlsperanza@aol.com
--- to accompany production at "Il Globo".
"Orfeo ed Euridice ("Orphée et Eurydice") is an opera composed by Christoph Willibald Gluck based on the myth of Orfeo, set to a libretto by Ranieri de' Calzabigi."
"It belongs to the genre of the "azione teatrale," meaning an opera on a mythological subject with choruses and dancing.[1]
"The piece was first performed at Vienna on 5 October 1762."
""Orfeo ed Euridice" is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama.[2]
"The opera is the most popular of Gluck's works,[2] and one of the most influential on subsequent German opera."
"Variations on its plot—the underground rescue-mission in which the hero must control, or conceal, his emotions—include Mozart's The Magic Flute, Beethoven's Fidelio and Wagner's Das Rheingold."
"Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of
accompanied recitative
and a general absence of vocal virtuosity."
"Indeed, 12 years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline."
"This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes."
"Francesco Algarotti's Essay on the Opera (1755) was a major influence in the development of Gluck's reformist ideology.[3]"
"Algarotti proposed a heavily simplified model of opera seria, with the drama pre-eminent, instead of the music or ballet or staging. The drama itself should "delight the eyes and ears, to rouse up and to affect the hearts of an audience, without the risk of sinning against reason or common sense"."
"Algarotti's ideas influenced both Gluck and his librettist, Calzabigi.[4] Calzabigi was himself a prominent advocate of reform,[2] and he stated as follows."
""If Mr Gluck was the creator of dramatic music, he did not create it from nothing. I provided him with the material or the chaos, if you like. We therefore share the honour of that creation."[5]
"Other influences included the composer Niccolò Jommelli and his maître de ballet at Stuttgart, Jean-Georges Noverre.[4]
"Noverre's Lettres sur la danse (1760) called for dramatic effect over acrobatic ostentation; Noverre was himself influenced by the operas of Rameau and the acting style of David Garrick.[4]
"The considerable quantity of ballet in Orfeo ed Euridice is thought to be due to his influence. Jommelli himself was noted for his blending of all aspects of the production: ballet, staging, and audience.[6]"
Italian Premiere Cast
5 October 1762
(Conductor: - ) Revised version
French Premiere Cast
2 August 1774
(Conductor: - )
Orfeo Alto castrato (Vienna),
High tenor, Haute-contre (Paris),
or mezzo-soprano
Gaetano Guadagni
Joseph Legros
Amore soprano
Marianna Bianchi Sophie Arnould
Euridice soprano Lucia Clavereau Rosalie Levasseur
The first lines of arias, choruses, etc., are given in Italian (1762 version) and French (1774 version).
Atto 1. A chorus of nymphs and shepherds join Orfeo around the tomb of his wife Euridice in a solemn chorus of mourning; Orfeo is only able to utter Euridice's name (Chorus and Orfeo:
“Ah, se intorno”/“Ah! Dans ce bois”).
Orfeo sends the others away and sings of his grief in the aria
"Chiamo il mio ben"/“Objet de mon amour”,
the three verses of which are preceded by expressive recitatives. This technique was extremely radical at the time and indeed proved overly so for those who came after Gluck: Mozart chose to retain the unity of the aria. Amore (Cupid) appears, telling Orfeo that he may go to the Underworld and return with his wife on the condition that he not look at her until they are back on earth (1774 only: aria by Amour,
“Si les doux accords”). As encouragement, Amore informs Orfeo that his present suffering shall be short-lived with the aria
"Gli sguardi trattieni"/“Soumis au silence”.
Orfeo resolves to take on the quest. In the 1774 version only he delivers an ariette
("L'espoir renaît dans mon âme") in the older, showier, Italian style, originally composed for an occasional entertainment, Il Parnaso confuso (1765), and subsequently re-used in another one, Le feste d'Apollo (1769).[1]
Atto II.
In a rocky landscape, the Furies refuse to admit Orfeo to the Underworld, and sing of Cerberus, its canine guardian
(“Chi mai dell’Erebo”/“Quel est l’audacieux”).
When Orfeo, accompanied by his lyre (represented in the opera by a harp), begs for pity in the aria
"Deh placatevi con me"/“Laissez-vous toucher”,
he is at first interrupted by cries of "No!" from the Furies, but they are eventually softened by the sweetness of his singing in the arias
"Mille pene"/“Ah! La flamme and "Men tiranne"/“La tendresse”, and let him in
(“Ah, quale incognito affetto”/“Quels chants doux”).
In the 1774 version, the scene ends with the "Dance of the Furies" (No. 28).[7]
The second scene opens in Elysium. The brief ballet of 1762 became the four-movement "Dance of the Blessed Spirits" (with a prominent part for solo flute) in 1774. This is followed (1774 only) by a solo which celebrates happiness in eternal bliss (“Cet asile”), sung by either an unnamed Spirit or Euridice, and repeated by the chorus. Orfeo arrives and marvels at the purity of the air in an arioso
("Che puro ciel"/“Quel nouveau ciel”).
But he finds no solace in the beauty of the surroundings, for Euridice is not yet with him. He implores the spirits to bring her to him, which they do (Chorus:
“Torna, o bella”/“Près du tendre objet”).
Atto III
On the way out of Hades, Euridice is delighted to be returning to earth, but Orfeo, remembering the condition related by Amore in Act I, lets go of her hand and refuses to look at her, does not explain anything to her. She does not understand his action and reproaches him, but he must suffer in silence (Duet:
“Vieni, appaga il tuo consorte”/“Viens, suis un époux”).
Euridice takes this to be a sign that he no longer loves her, and refuses to continue, concluding that death would be preferable. She sings of her grief at Orfeo's supposed infidelity in the aria "Che fiero momento"/“Fortune ennemie” (in 1774, there is a brief duet before the reprise). Unable to take any more, Orfeo turns and looks at Euridice; again, she dies. Orfeo sings of his grief in the famous aria
Che farò senza Euridice?
J’ai perdu mon Eurydice
(“What shall I do without Euridice?”/"I have lost my Euridice")
Orfeo decides he will kill himself to join Euridice in Hades, but Amore returns to stop him (1774 only: Trio: “Tendre Amour”). In reward for Orfeo's continued love, Amore returns Euridice to life, and she and Orfeo are reunited. After a four-movement ballet, all sing in praise of Amore (“Trionfi Amore”). In the 1774 version, the chorus (“L’Amour triomphe”) precedes the ballet, to which Gluck had added three extra movements.
The opera was first performed in Vienna at the Burgtheater on 5 October 1762, for the name-day celebrations of the Emperor Francis I.
The production was supervised by the reformist theatre administrator, Count Giacomo Durazzo.
Choreography was by Gasparo Angiolini, and set designs were by Giovanni Maria Quaglio, both leading members of their fields.
The first Orfeo was the famous castrato Gaetano Guadagni.
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 Orfeo, but little of the music bore any relation to Gluck's original, with J.C. Bach - "the English Bach" - providing most of the new music.[2]
Haydn conducted a performance of the Italian version at Eszterháza in 1776.
During the early 19th century, Adolphe Nourrit became particularly well-known for his performances of Orfeo at the Paris Opera.
In 1854 Franz Liszt conducted the work at Weimar, composing a symphonic poem of his own to replace Gluck's original overture.[2]
Typically during the 19th century and for most of the 20th century, the role of Orfeo was sung by a female contralto, and noted interpreters of the role from this time include Clara Butt and Kathleen Ferrier, and the mezzo-sopranos Rita Gorr, Marilyn Horne, Janet Baker and Risë Stevens (at the Metropolitan Opera).[2]
Among conductors, Arturo Toscanini was a notable proponent of the opera.[2] His radio broadcast of Act II was eventually released on both LP and CD.
In 1769 for a performance at Parma which was conducted by the composer,[2] Gluck transposed the role of Orfeo up for the soprano castrato Giuseppe Millico, maintaining a libretto in Italian.
This version has not been performed in modern times.[2]
Gluck revised the score again for a production in Paris, which premiered on 2 August 1774.
This version, named Orphée et Eurydice, had a French libretto by Pierre-Louis Moline, which was both a translation of and an expansion upon Calzabigi's original text.
Gluck expanded and rewrote parts of the opera, and changed the role of Orfeo from a part for a castrato to one for high tenor or the so-called haute-contre - the usual voice in French opera for heroic characters - as the French almost never used castrati.[2]
This version of the work also had additional ballet sequences, conforming to the tastes that were prevalent at the time in Paris.
In 1859, the composer Hector Berlioz made a version of the opera - in four acts - with the singer Pauline Viardot in mind, adapting the score for a female alto.[8]
In this adaptation, Berlioz used the key scheme of the 1762 Vienna score while incorporating much of the additional music of the 1774 Paris score.
He returned to the Italian version only when he considered it to be superior either in terms of music or in terms of the drama.[8]
He also changed the orchestration to take advantage of new developments in musical instruments.[8]
In Berlioz's day, Orfeo came to be generally sung by a female alto or
a tenor,
as the original version for castrato became increasingly neglected.
Operatic castrati themselves had virtually vanished by 1825, and performances of the original version for castrato became increasingly rare.
The modern practice of approximating castrati by using countertenors as replacements only dates to 1950.[2]
Finally, an 1889 edition, published by Ricordi, combined elements of both the Italian and the French versions, using again a female alto as Orfeo.
This edition proved extremely popular, and consisted largely of Berlioz's adaption condensed into three acts.
It also re-incorporated much of the music of the 1774 French version that had been omitted by Berlioz.
On occasion the role of Orfeo has even been transposed down an octave for a baritone to sing.
Dietrich Fischer-Dieskau and Hermann Prey are two notable baritones who have performed the role in Germany.[2]
Dietrich Fischer-Dieskau recorded the opera, a recording which is still available commercially.
The opera was the first by Gluck showing signs of his ambition to reform opera seria. Self-contained arias and choruses make way for shorter pieces strung together to make larger structural units. Da capo arias are notable by their absence;[2]
Gluck instead uses strophic form, notably in Act One's "Chiamo il mio ben così", where each verse is interposed with dramatic recitative, - that is, stromentato, where the voice is accompanied by part or all of the orchestra - and rondo form, such as in Act Three's famous
"Che farò senza Euridice?".
Also absent is traditional secco recitative, where the voice is accompanied only by the basso continuo.[2]
On the whole, old Italian operatic conventions are disregarded in favour of giving the action dramatic impetus.
The complexity of the storyline is greatly reduced by eliminating subplots. Gluck was influenced by the example of French tragédies en musique, particularly those of Rameau. Like them, the opera contains a large number of expressive dances, extensive use of the chorus and accompanied recitative.[2]
The coup de théâtre of opening the drama with a chorus mourning one of the main characters is very similar to that used in Rameau's Castor et Pollux (1737).[9]
Other elements do not follow Gluck's subsequent reforms; for instance, the brisk, cheerful overture does not reflect the action to come.[2]
The role of Orfeo calls for an especially gifted actor, so that the strophic "Chiamo il mio ben così" does not become dull, and so that tragic import can be given both to this aria and to
"Che farò senza Euridice?", both of which are based on harmonies that are not obviously mournful in nature.[10]
The first Orfeo, Gaetano Guadagni, was reputedly a fine actor who had certainly taken lessons while in London from the renowned Shakespearian actor David Garrick.
Guadagni was apparently also able to project a moving and emotive tone without raising his voice.[10]
Indeed, Gluck faced criticism of "Che farò senza Euridice?" on the grounds that it was emotionally uninvolved;
he responded by pointing out the absolute necessity of fine execution of the aria:
"make the slightest change, either in the movement or in the turn of expression, and it will become a saltarello for marionettes".[10]
Gluck's reforms, which began with Orfeo ed Euridice, have had significant influence throughout operatic history. Gluck's ideals heavily influenced the popular works of Mozart, Wagner, and Weber,[11] with Wagner's Gesamtkunstwerk vision especially influenced by that of Gluck.[12]
Old-style opera seria and the domination of embellishment-orientated singers came to be increasingly unpopular after the success of Gluck's operas as a whole and Orfeo in particular.[2]
In Orfeo ed Euridice the orchestra is far more predominant than in earlier opera, most notably in Orfeo's arioso "Che puro ciel". Here the voice is reduced to the comparatively minor role of recitative-style declamation, while the oboe carries the main melody, supported by solos from the flute, cello, bassoon, and horn. There is also accompaniment from the strings (playing in triplets) and the continuo in the most complex orchestration that Gluck ever wrote.[2]
Gluck made a number of changes to the orchestration of Orfeo when adapting it from the original Italian version to the French version of 1774.
Cornetts and chalumeaux are replaced by commoner and more modern oboes and clarinets, while the part played by trombones considerably decreases, possibly due to a lack of technical ability on the part of the French trombonists.[5] Cornetts were instruments that were typically used for church music, and chalumeaux were predominant only in chamber music: both cornetts and chalumeaux were unpopular in France in 1774.[5]
In many ways the change from chalumeau to oboe corresponds to that from castrato to high tenor.[5]
Neither castrato nor chalumeau were to survive.[5]
In both the Italian and French version Orfeo's lyre is represented by the harp, and it was this use of the instrument in 1774 that it is usually thought introduced the harp to French orchestras.[5]
Each verse of the strophic "Chiamo il mio ben cosi" is accompanied by different solo instruments.
In Vienna these were flute, horns, and English horns, but in 1774 Gluck was required to change this orchestration to that of a single horn and two clarinets, again replacing uncommon instruments with those in far more widespread usage.[5] During the aria "Chiamo il mio ben cosi" and the interspersing recitatives Gluck added another offstage orchestra consisting of strings and chalumeaux, in order to provide an echo effect.[2]
There have been numerous recordings of the different versions, especially of the Berlioz adaptation featuring a female Orfeo.
The British alto Kathleen Ferrier and American mezzo-soprano Marilyn Horne were especially notable interpreters.[2]
In recent years, recordings and stage productions of the Vienna version of the opera have featured countertenors in the role of Orpheus.
Countertenors Derek Lee Ragin, Jochen Kowalski, René Jacobs, James Bowman, and Michael Chance have recorded Orfeo ed Euridice.
Until recent times, most recordings of all versions were cut or altered in some way.[13]
------------------
Recordings of the version
for
TENOR are still relatively rare
due to a lack of genuine haute-contres:[2]
there is one from the mid-1950s starring
Léopold Simoneau
opposite his wife Pierrette Alarie, and
Nicolai Gedda
also recorded the role in 1955.[2]
(Simoneau's version has been available on CD, although not at present, but Gedda's recording had its premiere CD release in 2009.)
In 2002 haute-contre
Jean-Paul Fouchécourt
added his version, while
Marc Minkowski
brought out a period instrument performance with
Richard Croft
in the title role in 2004.
In April 2010, a concert performance recorded in Madrid two years earlier by tenore di grazia
Juan Diego Florez,
was finally released.
There is also a DVD of the 1993 Australian Opera production, directed by Stefanos Lazaridis, with Australian haute-contre
David Hobson as Orfeo.
1762 Vienna version (with counter-tenor Orpheus)
Jochen Kowalski (Orfeo), Dagmar Schellenberger-Ernst (Euridice), Christian Fliegner (Amore); Berlin Radio Chorus, C.P.E. Bach Chamber Orchestra, Hartmut Haenchen (Capriccio, 1990)
Derek Lee Ragin (Orfeo), Sylvia McNair (Euridice), Cyndia Sieden (Amore); Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner (Philips, 1991)
James Bowman (Orfeo), Lynne Dawson (Euridice), Claron McFadden (Amore); Choeur de Chambre de Namur, La Grande Écurie et La Chambre du Roy, Jean-Claude Malgoire (Astrée 1994)
1762 Vienna version (with female Orpheus)
Rise Stevens (Orfeo), Lisa Della Casa (Euridice), Roberta Peters (Amore); Chorus and Orchestra of the Rome Opera, Pierre Monteux (RCA, 1957)
Shirley Verrett (Orfeo), Anna Moffo (Euridice), Judith Raskin (Amore); Polyphonic Chorus of Rome, I Virtuosi di Roma, Renato Fasano (RCA, 1965)
Marilyn Horne (Orfeo), Pilar Lorengar (Euridice), Helen Donath (Amore); Chorus and Orchestra of the Royal Opera House, Covent Garden, Georg Solti (Decca, 1969)
Bernarda Fink (Orfeo), Veronica Cangemi (Euridice), Maria Cristina Kiehr (Amore); RIAS Kammerchor, Freiburger Barockorchester, René Jacobs (Harmonia Mundi, 2001)
1762 Vienna version (with baritone Orpheus)
Dietrich Fischer-Dieskau (Orfeo), Gundula Janowitz (Euridice), Edda Moser (Amore); Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter (Deutsche Grammophon) stereo.
1774 Paris version (with TENOR Orfeo)
Léopold Simoneau (Orphée), Suzanne Danco (Eurydice), Pierrette Alarie (Amour); Robert Blanchard Vocal Ensemble, Orchestre Lamoureux, Hans Rosbaud (Philips mono, 1956 - reissued on CD 2001)
TENOR Nicolai Gedda (Orfeo), Janine Micheau (Eurydice), Liliane Berton (Amour); Chef du choeur Elisabeth Brasseur, Orchestre de la Société des Concerts du Conservatoire, Louis de Fremont (Deutsche Grammophon, mono, 1955 - reissued on CD by Profil 2009)
TENOR Jean-Paul Fouchécourt (Orfeo), Catherine DuBosc (Eurydice), Suzie Le Blanc (Amour); Opera Lafayette Orchestra and Chorus, Ryan Brown (Naxos 2002)
TENOR Richard Croft (Orfeo), Mireille Delunsch (Eurydice), Marion Harousseau (Amour); Les Musiciens du Louvre, Marc Minkowski (Deutsche Grammophon Archiv, 2002, released 2004)
TENOR J. D. Florez (Orfeo), Ainhoa Garmendia (Eurydice), Alessandra Marianelli (Amour); Coro y Orquesta Titular del Teatro Real (Coro y Orquesta Sinfónica de Madrid), Jesus López-Cobos (Decca 2010)
TENOR David Hobson (Orfeo), Amanda Thane (Eurydice), Miriam Gormley (L'Amour); The Australian Opera Chorus, Australian Opera and Ballet Orchestra, Marco Guidarini; DVD recorded at the Sydney Opera House, 20 September 1993, (OpusArte/Faveo and Kultur 2006).
[edit] 1859 Berlioz version
In French: Anne Sofie von Otter (Orphée), Barbara Hendricks (Eurydice), Brigitte Fournier (Amour); Monteverdi Choir, Lyon Opera Orchestra, John Eliot Gardiner (EMI)
In French: Ewa Podleś (Orphée), Raphaele Farman (Eurydice), Marie-Noelle de Callataÿ (Amour); Capella Brugensis, Collegium Instrumentale Brugense, Patrick Peire (Forlane)
In French: Jennifer Larmore (Orphée), Dawn Upshaw (Eurydice), Alison Hagley (Amour); Chorus and Orchestra of San Francisco Opera Donald Runnicles (Teldec 1996)
[edit] 1889 Ricordi composite version
In Italian : Kathleen Ferrier (Orfeo), Ann Ayars (Euridice), Zoe Vlachopoulos (Amore), Glyndebourne Festival Choir, Southern Philharmonic Orchestra, Fritz Stiedry (Decca mono, 1947 - abridged)
In Italian : Kathleen Ferrier (Orfeo), Greet Koeman (Euridice), Nel Duval (Amore), Chorus & Orchestra of Netherlands Opera, Charles Bruck, recorded live 1951, remastered and released in 2004 by EMI.
In Italian: Janet Baker (Orfeo), Elisabeth Speiser (Euridice), Elizabeth Gale (Amore); Glyndebourne Chorus, London Philharmonic Orchestra, Raymond Leppard (Erato, 1983)
In Italian: Marjana Lipovšek (Orfeo), Lucia Popp (Euridice), Julie Kaufmann (Amore); Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester, Leopold Hager (RCA, 1986)
[edit] See also
List of Orphean operas
[edit] Notes
1.^ a b Holden 1993, p. 375
2.^ a b c d e f g h i j k l m n o p q r s t u v Hayes
3.^ Orrey, p. 81
4.^ a b c Orrey, p. 83
5.^ a b c d e f g Mestron
6.^ Orrey, p. 82
7.^ In the Metropolitan Opera productions in 1950s, or even earlier, that number concluded Act 1 of the opera, and act 2 starts with the ballet music of the next scene.
8.^ a b c Holden 1995, p. 136
9.^ Girdlestone, p. 202. Girdlestone compares the effect of the two opening scenes in detail.
10.^ a b c Noiray
11.^ Orrey, p. 88
12.^ Orrey, p. 169
13.^ Loppert, pp. 26-31
[edit] References
Durazzo, Angela Valenti "La premiata ditta Durazzo & Gluck" in "I durazzo da schiavi a dogi della Repubblica di Genova", Principality of Monaco (2004).
Girdlestone, Cuthbert (1990). Jean-Philippe Rameau: His Life and Work. New York: Dover Publications. ISBN 0-486-26200-6.
Hayes, Jeremy: "Orfeo ed Euridice", Grove Music Online ed. L. Macy (Accessed 10 December 2006), grovemusic.com, subscription access.
Holden, Amanda; Nicholas Kenyon, Stephen Walsh (eds.) (1995). The Penguin Opera Guide. Penguin. ISBN 978-0140251319.
Holden, Amanda; Alan Blyth (1993). The Viking opera guide. New York: Viking. ISBN 0-670-81292-7.
Loppert, Max (1979). "Orfeo ed Euridice". In: Alan Blyth (ed.) Opera on Record. London: Hutchinson. ISBN 0-09-139980-7.
Mestron, Hervé translated by Mary Pardoe:Archaisms and innovations in the orchestration of Orfeo (1994). Published by Astrée as a brief essay to accompany the Jean-Claude Malgoire recording above.
Noiray, Michael translated by Mary Pardoe:A musical manifesto (1994). Published by Astrée as a brief essay to accompany the Jean-Claude Malgoire recording above.
Orrey, Leslie; Rodney Milnes (1987). Opera, a concise history. London: Thames and Hudson. ISBN 0-500-20217-6.
[edit] External links
Libretto (Italian)
Libretto of the 1774 Paris version
Piano Vocal Score - English and Italian
The Opera Guide has the libretto in German, English, French and Italian as well as synopsis.
Orfeo ed Euridice MP3 Creative Commons Complete Recording
Synopsis of Orfeo ed Euridice (Metropolitan Opera)
Retrieved from "http://en.wikipedia.org/wiki/Orfeo_ed_Euridice"
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--- to accompany production at "Il Globo".
"Orfeo ed Euridice ("Orphée et Eurydice") is an opera composed by Christoph Willibald Gluck based on the myth of Orfeo, set to a libretto by Ranieri de' Calzabigi."
"It belongs to the genre of the "azione teatrale," meaning an opera on a mythological subject with choruses and dancing.[1]
"The piece was first performed at Vienna on 5 October 1762."
""Orfeo ed Euridice" is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama.[2]
"The opera is the most popular of Gluck's works,[2] and one of the most influential on subsequent German opera."
"Variations on its plot—the underground rescue-mission in which the hero must control, or conceal, his emotions—include Mozart's The Magic Flute, Beethoven's Fidelio and Wagner's Das Rheingold."
"Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of
accompanied recitative
and a general absence of vocal virtuosity."
"Indeed, 12 years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline."
"This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes."
"Francesco Algarotti's Essay on the Opera (1755) was a major influence in the development of Gluck's reformist ideology.[3]"
"Algarotti proposed a heavily simplified model of opera seria, with the drama pre-eminent, instead of the music or ballet or staging. The drama itself should "delight the eyes and ears, to rouse up and to affect the hearts of an audience, without the risk of sinning against reason or common sense"."
"Algarotti's ideas influenced both Gluck and his librettist, Calzabigi.[4] Calzabigi was himself a prominent advocate of reform,[2] and he stated as follows."
""If Mr Gluck was the creator of dramatic music, he did not create it from nothing. I provided him with the material or the chaos, if you like. We therefore share the honour of that creation."[5]
"Other influences included the composer Niccolò Jommelli and his maître de ballet at Stuttgart, Jean-Georges Noverre.[4]
"Noverre's Lettres sur la danse (1760) called for dramatic effect over acrobatic ostentation; Noverre was himself influenced by the operas of Rameau and the acting style of David Garrick.[4]
"The considerable quantity of ballet in Orfeo ed Euridice is thought to be due to his influence. Jommelli himself was noted for his blending of all aspects of the production: ballet, staging, and audience.[6]"
Italian Premiere Cast
5 October 1762
(Conductor: - ) Revised version
French Premiere Cast
2 August 1774
(Conductor: - )
Orfeo Alto castrato (Vienna),
High tenor, Haute-contre (Paris),
or mezzo-soprano
Gaetano Guadagni
Joseph Legros
Amore soprano
Marianna Bianchi Sophie Arnould
Euridice soprano Lucia Clavereau Rosalie Levasseur
The first lines of arias, choruses, etc., are given in Italian (1762 version) and French (1774 version).
Atto 1. A chorus of nymphs and shepherds join Orfeo around the tomb of his wife Euridice in a solemn chorus of mourning; Orfeo is only able to utter Euridice's name (Chorus and Orfeo:
“Ah, se intorno”/“Ah! Dans ce bois”).
Orfeo sends the others away and sings of his grief in the aria
"Chiamo il mio ben"/“Objet de mon amour”,
the three verses of which are preceded by expressive recitatives. This technique was extremely radical at the time and indeed proved overly so for those who came after Gluck: Mozart chose to retain the unity of the aria. Amore (Cupid) appears, telling Orfeo that he may go to the Underworld and return with his wife on the condition that he not look at her until they are back on earth (1774 only: aria by Amour,
“Si les doux accords”). As encouragement, Amore informs Orfeo that his present suffering shall be short-lived with the aria
"Gli sguardi trattieni"/“Soumis au silence”.
Orfeo resolves to take on the quest. In the 1774 version only he delivers an ariette
("L'espoir renaît dans mon âme") in the older, showier, Italian style, originally composed for an occasional entertainment, Il Parnaso confuso (1765), and subsequently re-used in another one, Le feste d'Apollo (1769).[1]
Atto II.
In a rocky landscape, the Furies refuse to admit Orfeo to the Underworld, and sing of Cerberus, its canine guardian
(“Chi mai dell’Erebo”/“Quel est l’audacieux”).
When Orfeo, accompanied by his lyre (represented in the opera by a harp), begs for pity in the aria
"Deh placatevi con me"/“Laissez-vous toucher”,
he is at first interrupted by cries of "No!" from the Furies, but they are eventually softened by the sweetness of his singing in the arias
"Mille pene"/“Ah! La flamme and "Men tiranne"/“La tendresse”, and let him in
(“Ah, quale incognito affetto”/“Quels chants doux”).
In the 1774 version, the scene ends with the "Dance of the Furies" (No. 28).[7]
The second scene opens in Elysium. The brief ballet of 1762 became the four-movement "Dance of the Blessed Spirits" (with a prominent part for solo flute) in 1774. This is followed (1774 only) by a solo which celebrates happiness in eternal bliss (“Cet asile”), sung by either an unnamed Spirit or Euridice, and repeated by the chorus. Orfeo arrives and marvels at the purity of the air in an arioso
("Che puro ciel"/“Quel nouveau ciel”).
But he finds no solace in the beauty of the surroundings, for Euridice is not yet with him. He implores the spirits to bring her to him, which they do (Chorus:
“Torna, o bella”/“Près du tendre objet”).
Atto III
On the way out of Hades, Euridice is delighted to be returning to earth, but Orfeo, remembering the condition related by Amore in Act I, lets go of her hand and refuses to look at her, does not explain anything to her. She does not understand his action and reproaches him, but he must suffer in silence (Duet:
“Vieni, appaga il tuo consorte”/“Viens, suis un époux”).
Euridice takes this to be a sign that he no longer loves her, and refuses to continue, concluding that death would be preferable. She sings of her grief at Orfeo's supposed infidelity in the aria "Che fiero momento"/“Fortune ennemie” (in 1774, there is a brief duet before the reprise). Unable to take any more, Orfeo turns and looks at Euridice; again, she dies. Orfeo sings of his grief in the famous aria
Che farò senza Euridice?
J’ai perdu mon Eurydice
(“What shall I do without Euridice?”/"I have lost my Euridice")
Orfeo decides he will kill himself to join Euridice in Hades, but Amore returns to stop him (1774 only: Trio: “Tendre Amour”). In reward for Orfeo's continued love, Amore returns Euridice to life, and she and Orfeo are reunited. After a four-movement ballet, all sing in praise of Amore (“Trionfi Amore”). In the 1774 version, the chorus (“L’Amour triomphe”) precedes the ballet, to which Gluck had added three extra movements.
The opera was first performed in Vienna at the Burgtheater on 5 October 1762, for the name-day celebrations of the Emperor Francis I.
The production was supervised by the reformist theatre administrator, Count Giacomo Durazzo.
Choreography was by Gasparo Angiolini, and set designs were by Giovanni Maria Quaglio, both leading members of their fields.
The first Orfeo was the famous castrato Gaetano Guadagni.
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 Orfeo, but little of the music bore any relation to Gluck's original, with J.C. Bach - "the English Bach" - providing most of the new music.[2]
Haydn conducted a performance of the Italian version at Eszterháza in 1776.
During the early 19th century, Adolphe Nourrit became particularly well-known for his performances of Orfeo at the Paris Opera.
In 1854 Franz Liszt conducted the work at Weimar, composing a symphonic poem of his own to replace Gluck's original overture.[2]
Typically during the 19th century and for most of the 20th century, the role of Orfeo was sung by a female contralto, and noted interpreters of the role from this time include Clara Butt and Kathleen Ferrier, and the mezzo-sopranos Rita Gorr, Marilyn Horne, Janet Baker and Risë Stevens (at the Metropolitan Opera).[2]
Among conductors, Arturo Toscanini was a notable proponent of the opera.[2] His radio broadcast of Act II was eventually released on both LP and CD.
In 1769 for a performance at Parma which was conducted by the composer,[2] Gluck transposed the role of Orfeo up for the soprano castrato Giuseppe Millico, maintaining a libretto in Italian.
This version has not been performed in modern times.[2]
Gluck revised the score again for a production in Paris, which premiered on 2 August 1774.
This version, named Orphée et Eurydice, had a French libretto by Pierre-Louis Moline, which was both a translation of and an expansion upon Calzabigi's original text.
Gluck expanded and rewrote parts of the opera, and changed the role of Orfeo from a part for a castrato to one for high tenor or the so-called haute-contre - the usual voice in French opera for heroic characters - as the French almost never used castrati.[2]
This version of the work also had additional ballet sequences, conforming to the tastes that were prevalent at the time in Paris.
In 1859, the composer Hector Berlioz made a version of the opera - in four acts - with the singer Pauline Viardot in mind, adapting the score for a female alto.[8]
In this adaptation, Berlioz used the key scheme of the 1762 Vienna score while incorporating much of the additional music of the 1774 Paris score.
He returned to the Italian version only when he considered it to be superior either in terms of music or in terms of the drama.[8]
He also changed the orchestration to take advantage of new developments in musical instruments.[8]
In Berlioz's day, Orfeo came to be generally sung by a female alto or
a tenor,
as the original version for castrato became increasingly neglected.
Operatic castrati themselves had virtually vanished by 1825, and performances of the original version for castrato became increasingly rare.
The modern practice of approximating castrati by using countertenors as replacements only dates to 1950.[2]
Finally, an 1889 edition, published by Ricordi, combined elements of both the Italian and the French versions, using again a female alto as Orfeo.
This edition proved extremely popular, and consisted largely of Berlioz's adaption condensed into three acts.
It also re-incorporated much of the music of the 1774 French version that had been omitted by Berlioz.
On occasion the role of Orfeo has even been transposed down an octave for a baritone to sing.
Dietrich Fischer-Dieskau and Hermann Prey are two notable baritones who have performed the role in Germany.[2]
Dietrich Fischer-Dieskau recorded the opera, a recording which is still available commercially.
The opera was the first by Gluck showing signs of his ambition to reform opera seria. Self-contained arias and choruses make way for shorter pieces strung together to make larger structural units. Da capo arias are notable by their absence;[2]
Gluck instead uses strophic form, notably in Act One's "Chiamo il mio ben così", where each verse is interposed with dramatic recitative, - that is, stromentato, where the voice is accompanied by part or all of the orchestra - and rondo form, such as in Act Three's famous
"Che farò senza Euridice?".
Also absent is traditional secco recitative, where the voice is accompanied only by the basso continuo.[2]
On the whole, old Italian operatic conventions are disregarded in favour of giving the action dramatic impetus.
The complexity of the storyline is greatly reduced by eliminating subplots. Gluck was influenced by the example of French tragédies en musique, particularly those of Rameau. Like them, the opera contains a large number of expressive dances, extensive use of the chorus and accompanied recitative.[2]
The coup de théâtre of opening the drama with a chorus mourning one of the main characters is very similar to that used in Rameau's Castor et Pollux (1737).[9]
Other elements do not follow Gluck's subsequent reforms; for instance, the brisk, cheerful overture does not reflect the action to come.[2]
The role of Orfeo calls for an especially gifted actor, so that the strophic "Chiamo il mio ben così" does not become dull, and so that tragic import can be given both to this aria and to
"Che farò senza Euridice?", both of which are based on harmonies that are not obviously mournful in nature.[10]
The first Orfeo, Gaetano Guadagni, was reputedly a fine actor who had certainly taken lessons while in London from the renowned Shakespearian actor David Garrick.
Guadagni was apparently also able to project a moving and emotive tone without raising his voice.[10]
Indeed, Gluck faced criticism of "Che farò senza Euridice?" on the grounds that it was emotionally uninvolved;
he responded by pointing out the absolute necessity of fine execution of the aria:
"make the slightest change, either in the movement or in the turn of expression, and it will become a saltarello for marionettes".[10]
Gluck's reforms, which began with Orfeo ed Euridice, have had significant influence throughout operatic history. Gluck's ideals heavily influenced the popular works of Mozart, Wagner, and Weber,[11] with Wagner's Gesamtkunstwerk vision especially influenced by that of Gluck.[12]
Old-style opera seria and the domination of embellishment-orientated singers came to be increasingly unpopular after the success of Gluck's operas as a whole and Orfeo in particular.[2]
In Orfeo ed Euridice the orchestra is far more predominant than in earlier opera, most notably in Orfeo's arioso "Che puro ciel". Here the voice is reduced to the comparatively minor role of recitative-style declamation, while the oboe carries the main melody, supported by solos from the flute, cello, bassoon, and horn. There is also accompaniment from the strings (playing in triplets) and the continuo in the most complex orchestration that Gluck ever wrote.[2]
Gluck made a number of changes to the orchestration of Orfeo when adapting it from the original Italian version to the French version of 1774.
Cornetts and chalumeaux are replaced by commoner and more modern oboes and clarinets, while the part played by trombones considerably decreases, possibly due to a lack of technical ability on the part of the French trombonists.[5] Cornetts were instruments that were typically used for church music, and chalumeaux were predominant only in chamber music: both cornetts and chalumeaux were unpopular in France in 1774.[5]
In many ways the change from chalumeau to oboe corresponds to that from castrato to high tenor.[5]
Neither castrato nor chalumeau were to survive.[5]
In both the Italian and French version Orfeo's lyre is represented by the harp, and it was this use of the instrument in 1774 that it is usually thought introduced the harp to French orchestras.[5]
Each verse of the strophic "Chiamo il mio ben cosi" is accompanied by different solo instruments.
In Vienna these were flute, horns, and English horns, but in 1774 Gluck was required to change this orchestration to that of a single horn and two clarinets, again replacing uncommon instruments with those in far more widespread usage.[5] During the aria "Chiamo il mio ben cosi" and the interspersing recitatives Gluck added another offstage orchestra consisting of strings and chalumeaux, in order to provide an echo effect.[2]
There have been numerous recordings of the different versions, especially of the Berlioz adaptation featuring a female Orfeo.
The British alto Kathleen Ferrier and American mezzo-soprano Marilyn Horne were especially notable interpreters.[2]
In recent years, recordings and stage productions of the Vienna version of the opera have featured countertenors in the role of Orpheus.
Countertenors Derek Lee Ragin, Jochen Kowalski, René Jacobs, James Bowman, and Michael Chance have recorded Orfeo ed Euridice.
Until recent times, most recordings of all versions were cut or altered in some way.[13]
------------------
Recordings of the version
for
TENOR are still relatively rare
due to a lack of genuine haute-contres:[2]
there is one from the mid-1950s starring
Léopold Simoneau
opposite his wife Pierrette Alarie, and
Nicolai Gedda
also recorded the role in 1955.[2]
(Simoneau's version has been available on CD, although not at present, but Gedda's recording had its premiere CD release in 2009.)
In 2002 haute-contre
Jean-Paul Fouchécourt
added his version, while
Marc Minkowski
brought out a period instrument performance with
Richard Croft
in the title role in 2004.
In April 2010, a concert performance recorded in Madrid two years earlier by tenore di grazia
Juan Diego Florez,
was finally released.
There is also a DVD of the 1993 Australian Opera production, directed by Stefanos Lazaridis, with Australian haute-contre
David Hobson as Orfeo.
1762 Vienna version (with counter-tenor Orpheus)
Jochen Kowalski (Orfeo), Dagmar Schellenberger-Ernst (Euridice), Christian Fliegner (Amore); Berlin Radio Chorus, C.P.E. Bach Chamber Orchestra, Hartmut Haenchen (Capriccio, 1990)
Derek Lee Ragin (Orfeo), Sylvia McNair (Euridice), Cyndia Sieden (Amore); Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner (Philips, 1991)
James Bowman (Orfeo), Lynne Dawson (Euridice), Claron McFadden (Amore); Choeur de Chambre de Namur, La Grande Écurie et La Chambre du Roy, Jean-Claude Malgoire (Astrée 1994)
1762 Vienna version (with female Orpheus)
Rise Stevens (Orfeo), Lisa Della Casa (Euridice), Roberta Peters (Amore); Chorus and Orchestra of the Rome Opera, Pierre Monteux (RCA, 1957)
Shirley Verrett (Orfeo), Anna Moffo (Euridice), Judith Raskin (Amore); Polyphonic Chorus of Rome, I Virtuosi di Roma, Renato Fasano (RCA, 1965)
Marilyn Horne (Orfeo), Pilar Lorengar (Euridice), Helen Donath (Amore); Chorus and Orchestra of the Royal Opera House, Covent Garden, Georg Solti (Decca, 1969)
Bernarda Fink (Orfeo), Veronica Cangemi (Euridice), Maria Cristina Kiehr (Amore); RIAS Kammerchor, Freiburger Barockorchester, René Jacobs (Harmonia Mundi, 2001)
1762 Vienna version (with baritone Orpheus)
Dietrich Fischer-Dieskau (Orfeo), Gundula Janowitz (Euridice), Edda Moser (Amore); Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter (Deutsche Grammophon) stereo.
1774 Paris version (with TENOR Orfeo)
Léopold Simoneau (Orphée), Suzanne Danco (Eurydice), Pierrette Alarie (Amour); Robert Blanchard Vocal Ensemble, Orchestre Lamoureux, Hans Rosbaud (Philips mono, 1956 - reissued on CD 2001)
TENOR Nicolai Gedda (Orfeo), Janine Micheau (Eurydice), Liliane Berton (Amour); Chef du choeur Elisabeth Brasseur, Orchestre de la Société des Concerts du Conservatoire, Louis de Fremont (Deutsche Grammophon, mono, 1955 - reissued on CD by Profil 2009)
TENOR Jean-Paul Fouchécourt (Orfeo), Catherine DuBosc (Eurydice), Suzie Le Blanc (Amour); Opera Lafayette Orchestra and Chorus, Ryan Brown (Naxos 2002)
TENOR Richard Croft (Orfeo), Mireille Delunsch (Eurydice), Marion Harousseau (Amour); Les Musiciens du Louvre, Marc Minkowski (Deutsche Grammophon Archiv, 2002, released 2004)
TENOR J. D. Florez (Orfeo), Ainhoa Garmendia (Eurydice), Alessandra Marianelli (Amour); Coro y Orquesta Titular del Teatro Real (Coro y Orquesta Sinfónica de Madrid), Jesus López-Cobos (Decca 2010)
TENOR David Hobson (Orfeo), Amanda Thane (Eurydice), Miriam Gormley (L'Amour); The Australian Opera Chorus, Australian Opera and Ballet Orchestra, Marco Guidarini; DVD recorded at the Sydney Opera House, 20 September 1993, (OpusArte/Faveo and Kultur 2006).
[edit] 1859 Berlioz version
In French: Anne Sofie von Otter (Orphée), Barbara Hendricks (Eurydice), Brigitte Fournier (Amour); Monteverdi Choir, Lyon Opera Orchestra, John Eliot Gardiner (EMI)
In French: Ewa Podleś (Orphée), Raphaele Farman (Eurydice), Marie-Noelle de Callataÿ (Amour); Capella Brugensis, Collegium Instrumentale Brugense, Patrick Peire (Forlane)
In French: Jennifer Larmore (Orphée), Dawn Upshaw (Eurydice), Alison Hagley (Amour); Chorus and Orchestra of San Francisco Opera Donald Runnicles (Teldec 1996)
[edit] 1889 Ricordi composite version
In Italian : Kathleen Ferrier (Orfeo), Ann Ayars (Euridice), Zoe Vlachopoulos (Amore), Glyndebourne Festival Choir, Southern Philharmonic Orchestra, Fritz Stiedry (Decca mono, 1947 - abridged)
In Italian : Kathleen Ferrier (Orfeo), Greet Koeman (Euridice), Nel Duval (Amore), Chorus & Orchestra of Netherlands Opera, Charles Bruck, recorded live 1951, remastered and released in 2004 by EMI.
In Italian: Janet Baker (Orfeo), Elisabeth Speiser (Euridice), Elizabeth Gale (Amore); Glyndebourne Chorus, London Philharmonic Orchestra, Raymond Leppard (Erato, 1983)
In Italian: Marjana Lipovšek (Orfeo), Lucia Popp (Euridice), Julie Kaufmann (Amore); Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester, Leopold Hager (RCA, 1986)
[edit] See also
List of Orphean operas
[edit] Notes
1.^ a b Holden 1993, p. 375
2.^ a b c d e f g h i j k l m n o p q r s t u v Hayes
3.^ Orrey, p. 81
4.^ a b c Orrey, p. 83
5.^ a b c d e f g Mestron
6.^ Orrey, p. 82
7.^ In the Metropolitan Opera productions in 1950s, or even earlier, that number concluded Act 1 of the opera, and act 2 starts with the ballet music of the next scene.
8.^ a b c Holden 1995, p. 136
9.^ Girdlestone, p. 202. Girdlestone compares the effect of the two opening scenes in detail.
10.^ a b c Noiray
11.^ Orrey, p. 88
12.^ Orrey, p. 169
13.^ Loppert, pp. 26-31
[edit] References
Durazzo, Angela Valenti "La premiata ditta Durazzo & Gluck" in "I durazzo da schiavi a dogi della Repubblica di Genova", Principality of Monaco (2004).
Girdlestone, Cuthbert (1990). Jean-Philippe Rameau: His Life and Work. New York: Dover Publications. ISBN 0-486-26200-6.
Hayes, Jeremy: "Orfeo ed Euridice", Grove Music Online ed. L. Macy (Accessed 10 December 2006), grovemusic.com, subscription access.
Holden, Amanda; Nicholas Kenyon, Stephen Walsh (eds.) (1995). The Penguin Opera Guide. Penguin. ISBN 978-0140251319.
Holden, Amanda; Alan Blyth (1993). The Viking opera guide. New York: Viking. ISBN 0-670-81292-7.
Loppert, Max (1979). "Orfeo ed Euridice". In: Alan Blyth (ed.) Opera on Record. London: Hutchinson. ISBN 0-09-139980-7.
Mestron, Hervé translated by Mary Pardoe:Archaisms and innovations in the orchestration of Orfeo (1994). Published by Astrée as a brief essay to accompany the Jean-Claude Malgoire recording above.
Noiray, Michael translated by Mary Pardoe:A musical manifesto (1994). Published by Astrée as a brief essay to accompany the Jean-Claude Malgoire recording above.
Orrey, Leslie; Rodney Milnes (1987). Opera, a concise history. London: Thames and Hudson. ISBN 0-500-20217-6.
[edit] External links
Libretto (Italian)
Libretto of the 1774 Paris version
Piano Vocal Score - English and Italian
The Opera Guide has the libretto in German, English, French and Italian as well as synopsis.
Orfeo ed Euridice MP3 Creative Commons Complete Recording
Synopsis of Orfeo ed Euridice (Metropolitan Opera)
Retrieved from "http://en.wikipedia.org/wiki/Orfeo_ed_Euridice"
Categories: 1762 operas | Italian-language operas | Azioni teatrali | Operas by Christoph Willibald Gluck | Operas | Operas based on Greco-Roman mythology
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