"Die Sängerinnen und Sänger haben allesamt sehr intensiv an den Koloraturen gearbeitet und sind den teils horrenden Schwierigkeiten der Arien gut gewachsen … Außerdem sind die Rezitative mit hohem Konversationstempo und fantasievoller Generalbass-Improvisation umgesetzt." ~FonoForum
Opting for the French-language version of Orpheus, David Alagna was faced with the task of achieving an appropriately subtle adaptation. In a plot transposed to the present day, Eurydice dies in a car accident on the day of her wedding and Orpheus's quest for his beloved is a dream beginning and ending at the cemetery. No happy ending in this interpretation, but a new approach to characterisation: Amore, sung by a baritone, becomes a funeral parlour employee and Orpheus' guide. Orpheus, of course, loses his loved one forever by turning to look back. World famous tenor Roberto Alagna throws himself body and soul into this production. His incredible vitality, flawless timbre and diction make him a great Orpheus. His partner, young Italian soprano Serena Gamberoni, is simply stunning as Eurydice, while French baritone Marc Barrard is suitably terrifying as the guide to the Underworld. The orchestra is conducted by Giampaolo Bisanti, who masterfully brings out all Gluck's poetry, romantic melancholy and depth.
This is a full recording of the original Italian version (the “Vienna version” from 1762) of Gluck’s beloved take on the Orpheus myth, Orfeo et Euridice PLUS extra music written by Gluck for later performances of his opera. It includes virtuoso arias for Fagioli and as such represents a brilliant showcase for him and a collectible item for connoisseurs. This is Franco Fagioli’s first ever recording of a complete opera in which he sings the title role and since, the role has become one of Franco’s calling cards in recent seasons. It is known for its absolutely gorgeous music, including one of opera’s most audience-pleasing tunes, the uber-famous aria “Che farò senza Euridice”. This version of the opera (by far the most popular one) appears for the first time ever on period instruments on DG / Archiv, hence filling a major gap in our catalogue and is a substantial project featuring one of our exciting new signings in one of his finest roles.
Once you listen to this account, it's easily understandable just why Orfeo ed Euridice has become the most famous opera by Christoph Willibald Gluck. Based on the well-known story from antiquity, Gluck composed a varied, engrossing music full of melodious arias, stirring dances, and dramatic duets and choruses. Conductor René Jacobs has decided here to eschew countertenor casting, with the result that we can enjoy mezzo-soprano Bernarda Fink as Orfeo. She interprets the part of the lovesick hero with vocal precision, stylistic assurance and admirably clear articulation. Her voice radiates warmth and resonates beautifully but at the same time with strength–especially in the highly dramatic Act III, which she, together with Veronica Cangemi (Euridice), shapes with an almost stormy emotional fervour. Maria Christina Kiehr sings with angelic beauty as Amore, while Jacobs leads the Freiburg Baroque Orchestra and the Rias Chamber Choir with verve and sweep in a recording that conveys limber beauty under the aegis of the historically-informed practice movement.
The Baroque Theatre of Český Krumlov Castle provides an ideal setting for one of the most important operas in music history, Christoph Willibald Gluck’s “Orfeo ed Euridice”. Director Ondřej Havelka captures much more than a stage performance: combining period details with modern psychological interpretation he chooses a cinematic approach that literally takes us behind the scenes of this unique venue. Bejun Mehta, ‘arguably the best countertenor in the world today’ (Sueddeutsche Zeitung), lends credibility to the emotions tormenting Orfeo’s heart. As his beloved Euridice, Austrian soprano Eva Liebau juggles joy and jealousy. Bringing comic relief to the work’s dark tone is Regula Mühlemann as Amore, who cheerily sends mortals zigzagging on their way to life, love – and, maybe, death. Under the baton of baroque specialist Václav Luks, the splendid soloists are supported by the Prague orchestra and vocal ensemble Collegium 1704 and Collegium Vocale 1704. This is the perfect new release to celebrate Gluck’s 300th anniversary in 2014!
Two late and baleful tragedies by Euripides focus on the ill-starred daughter of the Greek King, Agamemnon. Will he sacrifice Iphigenia in order to secure fair winds for his voyage to Troy? In Aulis, the drama rages until she is spared. Having escaped to Tauris, Iphigenia finds herself compelled to kill her own brother before, once more, the fickle gods intervene.