Donald Runnicles, Chorus and Orchestra of San Francisco Opera - Christoph Willibald Gluck: Orphée et Eurydice (1996)
Donald Runnicles, Chorus and Orchestra of San Francisco Opera - Christoph Willibald Gluck: Orphée et Eurydice (1996)
EAC | FLAC | Image (Cue & Log) ~ 667 Mb | Total time: 44:32+64:00 | Scans included
Classical | Label: Teldec | # 4509-98418-2 | Recorded: 1995
EAC | FLAC | Image (Cue & Log) ~ 667 Mb | Total time: 44:32+64:00 | Scans included
Classical | Label: Teldec | # 4509-98418-2 | Recorded: 1995
This latest version of Gluck’s masterpiece is something of a double hybrid: its starting point is the Berlioz version, which combines what Berlioz regarded as the best of the Italian original and the French revision (and using a contralto Orpheus), and then it is modified further, with a number of reorderings and some music restored, as well as revised orchestration. It isn’t very ‘authentic’, in terms of Gluck No. 1, Gluck No. 2 or Berlioz, but that of course doesn’t much matter as long as it works. For my own part, I am not wholly persuaded, especially by the structure of Act 3 as it is here, with the weak chorus from Echo et Narcisse and without the vaudeville finale (which seems to me to be necessary). Others, I am sure, may feel quite differently.
On its own terms, however, the recording has much in its favour. Donald Runnicles begins splendidly, with an account of the Overture as dramatic and pregnant as any I can remember. When the chorus enter, sounding large, distant and impersonal, the immediacy and poignancy of the drama and of Orpheus’s plight fade somewhat, in spite of the passionate “Eurydice” calls that strike through the texture; and the romantic direction of the ballet that ensues does not help, for it cuts against the elegiac simplicity that is at the heart of the score. Yet Jennifer Larmore’s voice is very full and beautiful, unashamedly womanly in sound and manner, but amply and intensely conveying Orpheus’s agony. The singing of the three-verse strofe (only two verses in the Berlioz version and here) is particularly expressive and the recitative that follows is highly impassioned. Alison Hagley’s singing of Amour is fresh, characterful and alert. Act 1 ends with the virtuoso aria, either by Gluck or Bertoni, that was used in the Paris version, and Larmore throws it off in forthright, heroic fashion against a very unGluckian orchestration. She uses the terrible cadenza allegedly put together by Berlioz, Saint-Saens and Viardot herself.
There is more of well-disciplined and vigorous choral singing in Act 2, as Orpheus is at first denied admission to Hades. This famous scene is grandly and impressively done but I did not actually find it particularly moving: again it seemed rather impersonal in spite of the appealing quality of Larmore’s firm and rounded yet finely focused voice. The Furies’ dances are done with some ferocity, those of the Blessed Spirits quite gracefully, if coolly. The end of the act, however, is telling, with a soft, veiled quality in the Blessed Spirits’ chorus, and Dawn Upshaw’s lovely, open, almost girlish sound in Eurydice’s music. The final dance has a proper hint of sublimity and the effect of this scene as a whole is in its way exalted. Upshaw continues to delight in the final act with her unaffected singing and her natural conformity to Gluck’s marking tendrement: even when Eurydice is being fatally disputatious her manner is appealing. Larmore gives a direct, firm-toned account of “J’ai perdu mon Euridice”, better known as “Che faro”, at a nicely moving tempo. Hers is by no means an undistinguished reading of the role but nor is it a very individual one.
In sum, then, this is a good modern version of the score. Admirers of Larmore’s singing and musicianship – and they should be numerous – will be eager to hear it, and the other two cast members are hardly less admirable. Runnicles’s direction is alive and efficient and large in scale, more Berliozian than Gluckian. The recorded sound is warm and well blended. In terms of style I don’t think this set is superior to that of John Eliot Gardiner of a similar version, but there is much to enjoy here.'–Stanley Sadie
Performer:
Orphée - Jennifer Larmore, mezzo-soprano
Eurydice - Dawn Upshaw, soprano
L'Amour - Alison Hagley, soprano
Chorus and Orchestra of San Francisco Opera
Donald Runnicles, conductor
Tracklist:
Christoph Willibald Gluck (1714-1787)
Orphée et Eurydice
CD1:
01. Ouverture
Acte I
02. «Ah! Dans Ce Bois Tranquille»
03. «Vos Plaintes, Vos Regrets»
04. Pantomime
05. «Ah! Danse Ce Bois Lugubre Et Sombre»
06. «Eloignez-vous»
07. Ritournelle
08. «Eurydice, Eurydice! Ombre Chère»
09. «Objet De Mon Amour»
10. «Eurydice, Eurydice, De Ce Doux Nom»
11. «Accablé De Regrets»
12. «Divintés De L'Acheron»
13. «L'Amour Vient Au Secours»
14. «Si Les Doux Accords»
15. «Dieux! Je La Reverrais!»
16. «Soumis Au Silence»
17. «Qu'entends-je?»
18. «Amour, Viens Rendre À Mon Âme»
Acte II
Scène 1
19. Danse Des Furies
20. «Quel Est L'audacieux»
21. Danse Des Furies
22. «Quel Est L'audacieux»
23. «Laissez-vous Toucher Par Mes Pleurs»
24. «Qui T'amène En Ces Lieux»
25. «Ah! La Flamme Qui Me Dévore»
26. «Par Quels Puissants Accords»
27. «La Tendresse Qui Me Presse»
28. «Quels Chants Doux Et Touchants»
29. Danse Des Furies
CD2:
Scène 2
01. Pantomime (Ballet Des Ombres Heureuses)
02. Ballet: Lent Sempre Legatissimo
03. Ballet: Air De Danse
04. «Cet Asile Aimable Et Tranquille»
05. «Quel Nouveau Ciel Pare Ce Lieux?»
06. «Viens Dans Ce Séjour Paisible»
07. Ballet (Pantomime)
08. «Ô Vous, Ombres Que J'implore»
09. «Près Du Tendre Objet Qu'on Aime»
Acte III
10. «Viens, Viens Eurydice» 4:06
11. «Viens, Suis Un Époux Qui T'adore»
12. «Mais D'où Vient Qu'il Persiste À Garder Le Silence?»
13. «Fortune Ennemie»
14. «Quelle Épreuve Cruelle!»
15. «J'ai Perdu Mon Eurydice»
16. «Ah! Puisse Ma Douleur Finir Avec Ma Vie!»
17. «Arrête, Orphée!»
18. «Tendre Amour»
19. «Le Dieu De Paphos»
20. Ballet: Grazioso
21. Ballet: Molto Lento
22. Ballet: Maestoso
23. Ballet: Grazioso
24. Ballet: Vivace
Exact Audio Copy V1.5 from 20. February 2020
EAC extraction logfile from 25. March 2020, 13:04
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Exact Audio Copy V1.5 from 20. February 2020
EAC extraction logfile from 25. March 2020, 13:24
Donald Runnicles / Gluck - Orphée et Eurydice CD2
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==== Log checksum 6DAE4E238F7B51D48962F4725A3A66055E71E230161E55C1B15B1F196DFEBA0B ====
Donald Runnicles, Chorus and Orchestra of San Francisco Opera - Christoph Willibald Gluck: Orphée et Eurydice (1996)
Thanks to the original releaser