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Classical - Released September 11, 2015 | Archiv Produktion

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles Classica
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Classical - Released January 1, 2014 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions 5 de Diapason - Diamant d'Opéra
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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
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Classical - Released December 15, 2006 | Warner Classics

Distinctions The Qobuz Ideal Discography
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Opera - Released January 1, 2000 | Accent

Booklet Distinctions Diapason d'or
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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
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Classical - Released January 1, 2014 | Decca Music Group Ltd.

Booklet Distinctions 5 de Diapason
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New Age - Released January 10, 2016 | Metafon Music

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New Age - Released November 1, 2015 | Metafon Music

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New Age - Released May 15, 2016 | Metafon Music

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Classical - Released January 1, 2004 | Archiv Produktion

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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
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New Age - Released June 5, 2016 | Metafon Music

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

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Classical - Released May 18, 2018 | Warner Classics

Booklet
The prime attraction of this Erato release is the presence of French countertenor Philippe Jaroussky, who is in fine voice, his presence alone is reason enough for Jaroussky fans to go out and buy it. Beyond this, however, there's a more arcane draw: the album presents Gluck's opera Orfeo ed Euridice in a previously unheard and little-known version. Gluck modified and adapted Orfeo ed Euridice several times, including reworking it entirely for French-language presentation in Paris in 1774. What's heard here is a different revival, for a pair of Italian runs in the years before that. This version was first performed on-stage only in 2014, but it makes an ideal vehicle for Jaroussky: the arias for Orfeo were transposed upward and generally fitted to the voice of a male soprano, giving Jaroussky plenty to do. The choral passages in this reading, with the Swiss Radio Chorus led by I Barocchisti conductor Diego Fasolis, are vigorous and clearly articulated, and to hear the performance at its best you might sample the Dance of the Furies and Specters at the beginning of Act Two and Orfeo's subsequent attempt to calm them down, showing Jaroussky at his formidable best. Elsewhere, sample around: the other singers are uniformly strong, but to an extent, I Barocchisti and Fasolis deliver a performance with Baroque punchiness instead of Classical grace, and if you're looking for the traditional sort of graceful Gluck performance, you may find them a bit jolting. There is no question, however, that the recording delivers impressive singing in a little-known iteration of Gluck's classic. © TiVo
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New Age - Released November 13, 2016 | Metafon Music

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Opera - Released February 1, 2011 | Warner Classics International

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New Age - Released September 25, 2016 | Metafon Music

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New Age - Released March 12, 2017 | Pincezzo Music

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Classical - Released January 1, 1999 | Archiv Produktion