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Classical - Released May 18, 2018 | Warner Classics

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
This is the first-ever recording of this particular version of Orfeo ed Euridice by Gluck: the one he wrote for the Royal Theatre of Naples, for the 1774 Carnival. That said, it is based in part on the first, Viennese, version, dated 1762 (in which Orpheus was sung by an alto castrato), but also on the 1769 revision for Parma, where the role of Orpheus was given to a male soprano. The notes, the tonalities, the instrumentation, the tempos and the number of dynamics underwent substantial modifications in the version for the Neapolitan Carnival: the work is at once perfectly recognisable, and yet different from its normal form; and some completely new numbers are added, of which the first is quite possibly the work of dilettante aristocrat Diego Naselli, and maybe the second, too. The orchestration has also undergone many modifications, surely to do with local constraints and availabilities. The Neapolitan success of 1774 was such that in November of the same year, the famous Teatro San Carlo took on the work – again in a new version, with not three but eight characters and several apocryphal numbers from Johann Christian Bach and other contemporary stars, which stretched the work out to three acts, whereas the present version only has one, split into six scenes. Orpheus is sung by Philippe Jaroussky, Eurydice by Amanda Forsythe, Amore by Emöke Baráth, while Diego Fasolis gives a spirited lead to the ensemble I Barocchisti and the Coro della Radio Svizzera (The Swiss Radio Choir). Lovers of Gluck will be delighted to discover yet another of the many possible facets of a work which has seen countless revisions and wanderings. © SM/Qobuz

Opera - Released October 4, 2019 | PentaTone

Hi-Res Booklet
La Nuova Musica presents a new live recording of Gluck’s Orfeo ed Euridice, with countertenor star Iestyn Davies singing the title role. Once created to reinstate the “noble simplicity and calm grandeur” of ancient Greek culture, the opera continues to delight audiences with its direct and unpretentious appeal, epitomized by the world-famous aria "Che farò senza Euridice". This live recording presents the original 1762 Vienna premiere version of the opera, with Gluck’s exquisite evocation of the Elysian Fields from his 1774 Paris version as a small addition. © Pentatone

Classical - Released September 11, 2015 | Deutsche Grammophon Classics

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles Classica

Classical - Released January 1, 2001 | Deutsche Grammophon (DG)


Classical - Released September 5, 2011 | Warner Classics

Hi-Res Booklet Distinctions Hi-Res Audio
Gluck wrote his opera seria Ezio in 1750 for production in Prague. (In 1762, after the formal and stylistic breakthroughs of Orfeo ed Euridice, he revised the opera for a Vienna production, but it's the original version that's recorded here.) The opera has many of the characteristics of Italian late Baroque opera; it's essentially a series of arias separated by accompanied recitatives, the formula that the composer reacted against in Orfeo. It's not Gluck at his most innovative or original, but it's a fine example of opera seria, with a number of impressive arias and some very expressive recitatives, and it can make quite an impact in a performance as fine as this one. Alan Curtis has a deep understanding of what makes early opera tick, and he conducts Il Complesso Barocco in an elegant, engaging performance that has plenty of momentum. The recording comes from a live 2008 concert performance at Théâtre de Poissy, but there is absolutely no audience noise, and the sound is immaculate and well-balanced. All the soloists are absolutely superb, and although this was a concert rather than a staged performance they convey a heady dramatic heat in their interactions. Contralto Sonia Prina exudes masculine aggressiveness in the title role and delivers Ezio's aria "Se fedele mi brama il regnant," a coloratura tour-de-force, with dazzling command. Tenor Topi Lehtipuu seems to grow in artistic stature with each new recording he makes, and he comes across with great dramatic force and effortless vocal agility. His aria "Se povero il ruscello" is one of the highlights of the album (and also of the opera; Gluck recognized this and lifted it for use in Orfeo ed Euridice). It's easy to hear the growth in countertenor Max Cencic's already formidable assurance and vocal distinctiveness. Highly recommended for fans of late Baroque or early Classical opera. © TiVo

Opera - Released January 1, 2016 | Orfeo


New Age - Released May 15, 2016 | Metafon Music


Full Operas - Released October 29, 2009 | Sony Classical


Chamber Music - Released July 15, 2014 | Hungaroton


Classical - Released January 1, 2016 | Orfeo


Opera - Released March 1, 2005 | Naxos


Classical - Released January 1, 2004 | Archiv Produktion


Classical - Released December 15, 2006 | Warner Classics

Distinctions The Qobuz Ideal Discography

New Age - Released June 5, 2016 | Metafon Music


New Age - Released November 13, 2016 | Metafon Music


Classical - Released January 1, 2001 | Decca Music Group Ltd.


Classical - Released January 14, 2008 | Warner Classics


Opera - Released January 1, 2000 | Accent

Booklet Distinctions Diapason d'or

New Age - Released March 2, 2016 | Metafon Music


Classical - Released January 1, 1970 | Decca Music Group Ltd.