A surprising fact from the musicological realm is that Haydn wrote about the same number of operas as Mozart–though it's true that some of them were written for the marionette theater at Esterhaza, rather than the opera house. In other words, old "Gius[eppe] Haydn"–as the title page of this opera refers to him–was a master. Better known to some by its alternate title, L'anima del filosofo, Haydn's Orfeo ed Euridice was written in 1791 for the King's Theater, Haymarket, during the composer's first English sojourn, but went unperformed there or anywhere else until 1950. The libretto, by Carlo Francesco Badini, is based on Ovid's Metamorphoses, with its decidedly unhappy ending to the story (Euridice dies a second time, Orpheus is poisoned, and the Bacchantes perish in a storm). While the score as a whole does not possess the kind of momentum or dramatic sweep one finds in Mozart, it nonetheless is vintage Haydn: highly imaginative in its use of a large orchestra, with numerous fine choruses and beautiful arias. A strong cast has been assembled for this recording, with Cecilia Bartoli a special delight in two roles–Euridice, a lyric role requiring remarkable agility, and the Genio (or Sybill), originally written for a castrato, whose one aria ("Al tuo seno fortunato") is a coloratura tour de force. The score is played with marvelous fluency by the Academy of Ancient Music under the direction of Christopher Hogwood, contributing to a realization that is, in every respect, elegantly informed. (Ted Libbey)
"Shirley Verrett makes a deeply impressive Orfeo, firm and pure in sound, classically restrained in expression; and her "Che farO", at a moderate, beautifully judged speed, is very finely sung, poised and quietly moving. The set is conducted by Renato Fasano, whose pacing of the score shows a very sure touch. The dance music has a grace and lightness, and a stylistic command, that one might not have expected from an orchestra which in those days seemed to be fed chiefly on a diet of Vivaldi."(Gramophone)
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 box contains a perfect overview of VIVARTE’s legendary catalogue of ancient music ranging from Vivaldi to Brahms. Most of the recordings received critical acclaim all over the world, many of them won prestigious awards and many are reference recordings.
Glucks Orfeo ed Euridice is one of music history's most important operas. The cast is led by Bejun Mehta, arguably the best countertenor in the world today (Sueddeutsche Zeitung) as Orfeo, Austrian soprano Eva Liebau as Euridice and Regula Mühlemann as Amore. Director Ondej Havelka combines period details with modern psychological interpretation. The baroque specialist Václav Luks leads the Collegium 1704 and Collegium Vocale 1704. This cinematic edition celebrates Glucks 2014 tricentenary!
…Gardiner's account of the Vienna Orfeo ed Euridice is peerless. One soon loses all sense of its being a period-instrument performance at all, so profound, at times overwhelming is its impact - so utterly right. In detail after detail - hauntingly poetic offstage instrumental complement, perfectly positioned in the drama (and perfectly captured by the excellent Philips recording); superbly stirring brass playing, which makes every entry a dramatic event; choral singing extraordinarily light in weight yet rich in emotional substance; exquisitely refined dance movements - and in sustainment of a delicately tenebrous, uniquely Gluckian atmosphere throughout, Gardiner's command of an opera championed since his first London concert performance, 21 years ago, is revealed as simply larger and fuller than almost anyone else's. The set was studio-made after many concerthall performances by exactly the same forces, and in recording terms it achieves the best of all worlds -the vitality of a live event married to the precision of a recording. – Gramophone 
Sony Classical will reissue its recordings by Tafelmusik, the GRAMMY-nominated period-instrument orchestra, in a new box set of 47 CDs. Originally released between 1989 and 1998, the recordings of the famed orchestra's Baroque and Classical repertoire are all being issued together for the first time in a single Sony Classical box set.