The 78's – GLUCK Orphee et Eurydice [1935] (CD Akadia) TOMASI Alice RAVEAU

The 78's - GLUCK Orphee et Eurydice [1935] (CD Akadia) TOMASI Alice RAVEAU

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Format:CD
Release Title:GLUCK Orphée et Eurydice
Edition:HISTORIC RECORDING
Release Year:2000
Style:Opera
Genre:Opera,Classical
Record Label:Arkadia
Artist:Alice Raveau

Orphée et EurydicebyChristophe Willibald Gluck[performed in French]Edition Berlioz / Saint-SaënsOrphée – Alice Raveau mezzo-sopranoEurydice – Germaine FéraldyL’Amour – Jany DelilleHenri Tomasi, conductorL’Orchestra Symphonique de ParisChoeur Russe d’Alexis Vlassoff STUDIO Recording : 1935 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. 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. And, twelve years after the 1762 premiere, Gluck revised the score for a production by the Paris Opera premiering on 2 August 1774 at the second Salle du Palais-Royal. Renamed Orphée et Eurydice, this version had a French libretto by Pierre-Louis Moline, which expanded as well as translated Calzabigi’s original. Gluck composed additional music and made other adjustments such as shifting Orpheus down to a high tenor, or haute-contre, from castrato, to suit the convention in French opera for heroic characters (the French almost never used castratos). The opera now had more ballet sequences, conforming to Paris taste, including the long “Dance of the Furies” originally written for Gluck’s ballet Don Juan and the “Dance of the Blessed Spirits” for flute and strings. When Giacomo Meyerbeer suggested to the French mezzo-soprano Pauline Viardot that she should perform the role of Orfeo in 1859, her close friend, Hector Berlioz agreed to prepare a version of the opera with Viardot’s voice in mind. In his 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 when he considered it superior either in terms of music or drama. He also restored some of the more subtle orchestration from the Italian version. In the end Camille Saint-Saëns, who was acting as Berlioz’s assistant on the project, did some of the minor rewriting which Berlioz had declined to do. The Berlioz version was first presented at the Théâtre Lyrique on 18 November 1859 with Viardot as Orphée, Marie Sasse as Eurydice, Marie Ernestine Marimon as L’Amour, Mlle Moreau as L’Ombre, and Adolphe Deloffre as the conductor. The production was a popular and critical success, filling the house every night, and was given a total of 138 times by the company.

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