Christoph Willibald Gluck (1714-1787) Orphée et Eurydice / Original Remastered Version. 🎧 Qobuz bit.ly/3LMn40S Tidal tidal.com/browse/album/210870766 🎧 Spotify spoti.fi/3LMnMv4 TH-cam Music bit.ly/3kMXkWs 🎧 Apple Music apple.co/390nyCd Amazon Music amzn.to/3M387aI 🎧 Deezer bit.ly/3ykHMRO Amazon Store amzn.to/3P5GpMv 🎧 Napster bit.ly/38Ue8be Soundcloud - 🎧 LineMusic日本 bit.ly/38ZIysM Awa日本 mf.awa.fm/3sglI71 Click to activate the English subtitles for the presentation (00:00-01:30) ***Complete list of tracks on youtube music and the main streaming music platforms.*** 00:00 Overture 03:11 Act 1: Ah, dans ce bois tranquille et sombre - Chœur des bergers et des nymphes, Orphée 07:41 Act 1: Pantomime des bergers et des nymphes 10:10 Act 1: Ah, dans ce bois lugubre et sombre - Chœur, Orphée 23:15 Act 1: Si les doux accords de ta lyre - L’Amour, Orphée 25:43 Act 1: Soumis au silence - L’Amour 29:56 Act 2: Quel est l'audacieux - Chœur des spectres et des furies 36:05 Act 2: Qui t'amène en ces lieux - Chœur 37:05 Act 2: Ah, la flamme qui me dévore - Orphée, Chœur 45:39 Act 2: Danses des Ombres heureuses, Lent et très doux 55:08 Act 2: Air avec chœur, Cet asile aimable et tranquille 58:38 Act 2: Quel nouveau ciel pare ces lieux! - Orphée 1:04:01 Act 2: Viens dans ce séjour paisible - Chœur 1:06:46 Act 2: Danse des Ombres heureuses 1:10:23 Act 2: Ô vous, ombres que j'implore" - Orphée, chœur 1:18:39 Act 3: Viens, suis un époux qui t'adore - Orphée, Eurydice 1:31:46 Act 3: J’ai perdu mon Eurydice - Orphée 1:38:47 Act 3: Tendre amour - Eurydice, Orphée, l'Amour 1:42:30 Act 3: Ballet du Triomphe de l'Amour, Menuet, Dolce 1:51:53 Act 3: L’amour triomphe - Orphée, Chœur des Bergers et des Nymphes - l’Amour, Eurydice ***Complete list of tracks on youtube music and the main streaming music platforms.*** Orphée: Léopold Simoneau Eurydice: Suzanne Danco L'amour: Pierrette Alarie Une Ombre heureuse: Suzanne Danco Ensemble Vocal Roger Blanchard Orchestre des Concerts Lamoureux Conductor: Hans Rosbaud Recorded in 1956, at Paris New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Christoph Willibald Gluck occupies an unassailable place in the history of music as one of the great "opera reformers." Here is an opera that can be classified at the same level as those of Mozart by its thematic and melodic richness. We are struck by the long orchestral passages that support and consolidate the dramatic framework. He strove to create a new and till then unknown kind of music-drama, in direct opposition to the two main currents in eighteenth-century music theatre - principally, the pandering to vocal virtuosity in opera seria which was rapidly reaching the stage when the singers' skill was becoming an end in itself, but also the Singspiel movement with its banal plots and folk-like, strophic songs. In contradistinction to these, Gluck considered the real task of the music to be the outlining of the dramatic action. Every sentiment, every emotion, every turn in the plot must be mirrored in the music, must indeed be fully comprehensible only through the music. In the poet Ranieri de' Calzabigi Gluck found a librettist who was to inspire and stimulate him, and whose librettos matched his own ideas perfectly. Gluck's first "reform" opera, "Orfeo ed Euridice," remains his best-known work today. In it his innovations are already strikingly obvious: there is a single, straightforward plot, with a small number of characters, and the musical reform is in its construction in whole, through-composed scenes. With this deliberate construction in whole scenes (the most important point) Gluck moved away from the sharply differentiated recitative and aria customary in the traditional opera seria. In this context, a formative influence on his style was his preference for accompanied recitative, speech-song accompanied by an orchestra, rather than "dry" recitativo secco supported only by a harpsichord. By this practice alone, the use of the same instrumentation for both recitative and aria, the boundaries between the two began to be eroded. By using orchestral accompaniment, Gluck was able to put more colour into his depiction of emotions and characters. Characteristic, too, of Gluck's "emotional" compositional style is his liking for smallish, aria-like forms which differ essentially in scope, construction and function from the large-scale, highly virtuosic, and often dramatically pointless da capo aria of the traditional opera seria. Gluck always makes these short, canzone-like arias subservient to the dramatic conception; this is very evident in the first two acts of "Orfeo," with the extended passages of dialogue between the despairing Orpheus and the Chorus of Spirits of the underworld. In these acts Gluck does not shrink even from a naturalistic portrayal of sighing and lamenting. Even the modern listener can understand how these innovations in "Orfeo" meant that the work did not enjoy an immediate success after its first performance on 5 October 1762 in the Vienna Hofburgtheater, in spite of the fact that Gluck, even in this "reform" opera, was prepared to make various concessions to public taste - for example in the contrast between the graceful, Rococo figure of Amor, the god of love, and the grave solemnity of the great dialogues between Orpheus and the chorus. The work's happy ending, contrary to Ovid's original version, and the construction of the overture, which, unlike those of Gluck's later "reform" operas, has no thematic connections with the music drama it introduces, may be taken too as vestiges of traditional forms. In spite of these concessions, the work did not achieve real success till 12 years after the first performance, in a slightly altered setting for the Paris Opéra, on 2 August 1774; the most important alteration was the setting of the role of Orpheus for a tenor, instead of the alto of the Vienna version. This recording is based on the Paris version and therefore has none of the amalgamation of elements from both scores that took place after Gluck's death. Sibelius - Karelia Suite, Valse Triste, Finlandia, The Swan of Tuonela, Tapiola (C.r.: Hans Rosbaud): th-cam.com/video/x1cyAKFUMG0/w-d-xo.html
That's great. You uploaded that about 2 weeks ago. I have started listening immediately after you finished to upload, But suddenly after about one hour of listening the video was shutting down. Probably some problems with copyrights issue. Thanks for your efforts to upload this amazing rendition again. N.B Leopold Simoneau is GREAT. Suzanne Danco is also wonderful. The choir is super.
@@Cycle-Tourer Thanks for your feedback :) yes We had found a few weeks ago some problems on the old mastering which was already better first edition. Everything is fixed now, nice listening :)
Christoph Willibald Glück was a German. However, Orphée et Eurydice sounds for me much better in French. I heard this work for the first time in 1964 as a lonely and shy medical student at the seaside in my birth land, using a tiny Sanyo transistor radio. It was an experience. The aria J'ai Perdu mon Eurydice or the singing against the Furies stayed within me forever. I reproduced the melodies in a blockflöte so many times that my friends forbidden me to play this music anymore. I cannot be certain but I suspect this version was the one I heard at the time. It was many years before I heard the opera in French again. I felt at the time, and I feel now, that this opera is amongst the most beautiful melodies in the story of western music, and this particular recording is nothing less than a beauty. Thanks for uploading.
Christoph Willibald Gluck was Bohemian. A citizen of the Bohemian crown. German-speaking. Like me. I am Swiss. A German-speaking Swiss. That does absolutely not make me a German. The original version of this opera was written in Italian. None of the two earlier versions was ever sung in German. It was only during the 19th century when one began to translate opera into other languages. The 1856 version by Berlioz is - in my humble opinion - the most perfect interpretation of Gluck's work.
@@celloswiss Thanks for your comment. I am completely unable to follow all the changes of the political boundaries within the European continent along the years.
Christoph Willibald Gluck occupies an unassailable place in the history of music as one of the great "opera reformers." Here is an opera that can be classified at the same level as those of Mozart by its thematic and melodic richness. We are struck by the long orchestral passages that support and consolidate the dramatic framework. He strove to create a new and till then unknown kind of music-drama, in direct opposition to the two main currents in eighteenth-century music theatre - principally, the pandering to vocal virtuosity in opera seria which was rapidly reaching the stage when the singers' skill was becoming an end in itself, but also the Singspiel movement with its banal plots and folk-like, strophic songs. In contradistinction to these, Gluck considered the real task of the music to be the outlining of the dramatic action. Every sentiment, every emotion, every turn in the plot must be mirrored in the music, must indeed be fully comprehensible only through the music. In the poet Ranieri de' Calzabigi Gluck found a librettist who was to inspire and stimulate him, and whose librettos matched his own ideas perfectly. Gluck's first "reform" opera, "Orfeo ed Euridice," remains his best-known work today. In it his innovations are already strikingly obvious: there is a single, straightforward plot, with a small number of characters, and the musical reform is in its construction in whole, through-composed scenes. With this deliberate construction in whole scenes (the most important point) Gluck moved away from the sharply differentiated recitative and aria customary in the traditional opera seria. In this context, a formative influence on his style was his preference for accompanied recitative, speech-song accompanied by an orchestra, rather than "dry" recitativo secco supported only by a harpsichord. By this practice alone, the use of the same instrumentation for both recitative and aria, the boundaries between the two began to be eroded. By using orchestral accompaniment, Gluck was able to put more colour into his depiction of emotions and characters. Characteristic, too, of Gluck's "emotional" compositional style is his liking for smallish, aria-like forms which differ essentially in scope, construction and function from the large-scale, highly virtuosic, and often dramatically pointless da capo aria of the traditional opera seria. Gluck always makes these short, canzone-like arias subservient to the dramatic conception; this is very evident in the first two acts of "Orfeo," with the extended passages of dialogue between the despairing Orpheus and the Chorus of Spirits of the underworld. In these acts Gluck does not shrink even from a naturalistic portrayal of sighing and lamenting. Even the modern listener can understand how these innovations in "Orfeo" meant that the work did not enjoy an immediate success after its first performance on 5 October 1762 in the Vienna Hofburgtheater, in spite of the fact that Gluck, even in this "reform" opera, was prepared to make various concessions to public taste - for example in the contrast between the graceful, Rococo figure of Amor, the god of love, and the grave solemnity of the great dialogues between Orpheus and the chorus. The work's happy ending, contrary to Ovid's original version, and the construction of the overture, which, unlike those of Gluck's later "reform" operas, has no thematic connections with the music drama it introduces, may be taken too as vestiges of traditional forms. In spite of these concessions, the work did not achieve real success till 12 years after the first performance, in a slightly altered setting for the Paris Opéra, on 2 August 1774; the most important alteration was the setting of the role of Orpheus for a tenor, instead of the alto of the Vienna version. This recording is based on the Paris version and therefore has none of the amalgamation of elements from both scores that took place after Gluck's death. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Wunderschöne und detaillierte Interpretation dieser frühromantischen und perfekt komponierten Oper mit herrlichen Stimmen aller genialen Solisten und gut harmonisierten Stimmen des ausgezeichneten Chors sowie gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und geniale deutsche Dirigent leitet das kompakte und ausgezeichnete französische Orchester im gut betrachteten Tempo und mit künstlerisch kontrollierter Dynamik. Wundervoll vom Anfang bis zum Ende!
Il s'agît de la version pour Ténor écrite par Gluck pour Paris en 1774. Etant de loin la plus parfaite, on se demande pourquoi dans de nombreux enregistrements de l'opéra on revient si souvent à la primitive version viennoise de l'opéra, chantée en langue italienne. D'abord, la version de Paris possède l'avantage d'avoir été écrite pour un Ténor aïgu, mais quand même pour un homme, ce qui donne au développement dramatique un sens bien plus équilibré. Il était temps d'en finir avec la vieille tradition des Castrati, par la suite remplacés durant longtemps par des Alti. Et parce que la version de Paris, écrite par Gluck lui-même, contient de nombreux fragments crées (ou recrées) à l'effet qui ne sont pas de simples ajoutiers, des entrées de ballet décoratives, mais des passages orchestraux au sens dramatique précis qui interviennent et se déployent dans l'action. Voilà donc le propos réformateur de Gluck: il en est ainsi un changement formel dans la structure même de l'opéra, qui n'est plus l'assemblage de passages chantés, par les Soli et le Choeur, mais ayant aussi des passages entiers consacrés à l'orchestre, qui soutiennent et développent l'action dans le sens de la métaphore. Tout ceci sous-entendant qu'absolûment tous les entegistrements de la version viennoise primitive d'Orphée empruntent, d'une ou autre façon, des passages entiers de la définitive version française. Voyons voir les nombreux passages introduits par Gluck dans la version de Paris: Premier Acte: Air de l'Amour: Si les doux accords de ta lyre...! Deuxième Acte: Danse des Furies (empruntée au ballet Don Juan (1761) Danse des Esprits Bienheureux, avec son merveilleux solo de flûte; La Gavotte des Ombres, qui la suit; Air d'Eurydice: Cet asile aimable et tranquille (faussement atribué à un personnage imaginaire, Une Ombre Heureuse); Le Choeur des Ombres Heureuses: Viens dans ce séjour paisible...! suivi du Ballet qui complète le tableau, peinture admirable du bonheur mélancholique et inaltéré de la Vie au delà des passions humaines; Troisième Acte: Le Ballet final, juste avant le choeur L'Amour triomphe...!, moment enchanté de méditation, constitué avec la Chaconne d"Iphigénie en Aulide et un Trio extrait de Paride ed Elena, avec certaines variations. Et puis, disons-le franchement, l'alliage de la divine musique de Gluck avec un certain sens poétique de la langue française offre ce baume captivant et ce ravissement artistique si particulier de Gluck, qui frappe notre sensibilité. Par rapport au Choeur des Ombres Heureuses du Second Acte, nous avons une référence particulière à souligner. Christoph Willibald était l'aîné de plusieurs frères. Alexander Gluck, le père, était au service du Prince Kaunitz comme garde forestier dans les possessions du Prince à Neuschloß, au nord de Bohème. D'ailleurs, le nom de famille du musicien, Gluck, était d'aussi d'origine bohème. Donc, ce père à la disposition d'âme âpre et énergique inculqua à ses enfants des sentiments d'honnêteté et de vaillance. Christoph Willibald apprìt dès l'enfance à gagner son pain accompagnant son père à travers forêts. Ce mode de vie tempéra le charactère de Christoph Willibald, et lui donna le souffle puissant pour exprimer ses sentiments envers la Nature. Le sens de la Nature est présent dans toute son oeuvre. Gluck a été, d'après le terme de Rousseau, un fils de la Nature. Mais Gluck a rarement exprimé ce sentiment de Nature avec tellement de force comme dans le Choeur des Ombres Heureuses. La suggestion merveilleuse des bois, la vision des ramées fleuries dans les bocages, l'imposante présence de vieux arbres au troncs puissants, à l'écorce épaisse, à la frondaison presque surnaturelle... Le souvenir si vivant des beaux bois de Bohème est tout à fait présent dans ce choeur qui est presque un hymne religieux, une prière d'extase face à la beauté de la Création. Si Häendel ressentit la nécessité de se mettre à genoux, pris par l'extase, durant la composition de l'Alleluia du Messie, on sent bien le même souffle d'extase devant le Tout-Puissant et la Création, exprimé par Gluck dans ce Choeur des Ombres Heureuses: Viens dans ce séjour paisible, époux tendre, amant sensible, viens bannir tes justes regrets! Eurydice va paraître, Eurydice va rennaître, avec de nouveaux attraits. La présente version, enregistrée en 1956, est insurpassable. La performance de Léopold Simoneau est extraordinaire. Ayant une technique parfaite, il passe de la voix de poitrine au fausset avec une naturalité telle, qu'on n'en remarque pas la transition. Durant le long Cantabile du Premier Acte, et la Descente aux Enfers dans le Second, son chant prend les airs d'une prière. Suzanne Danco, cantatrice belge résidente en Italie, était à l'époque à l'entête des grandes répartitions d'opéras mozartiens. Pierrette Alarie, épouse de Léopold Simoneau, québecoise comme lui, avait un beau timbre, d'une remarquable clarté, et aborda plusieurs rôles, mozartiens et autres, dans sa carrière internationale. Le grand Hans Rosbaud marquait les temps avec une justesse de merveille. Bref, une histoire d'amour, simple et dépouillée, avec seulement deux personnages, un homme et une femme, puisque le troisième, l'Amour, est imaginaire. Le génie de Gluck en a fait un opéra merveilleux, d'une beauté étourdissante. Christoph Willibald Gluck, Chevalier de l'Eperon d'Or, Patriarche de la Musique! Et toujours ses mélodies émouvantes qui résonnent dans l'Eternité! Pedro Miguel, Mar del Plata, Argentine
The sound through my good headphones is superb! Thank you so much for giving it another try even those it must have cost you some wearying work. I have never listened to this recording before, and it’s a great treat!
I would say it differently. In fact, he is one of the most highly rated of all conductors, but unfortunately only known to a small portion of the audience that would love his work if only they knew it. Among professional musicians I've never known anyone to regard him with less than admiration bordering on awe.
This is a fantastic opera with absolutely beautiful music and singing. I watch the version with Bejun Metha continuously but for sheer listening enjoyment this is magnificent. The recording quality is of a very high standard. Brilliant work in providing such a great opera which should be listened to uninterrupted. Yes i pay the money for TH-cam Prime but it is so worth it not to hear pathetic dross constantly breaking into such superb artwork.
@@classicalmusicreference although I haven’t listened to it, but people regard it as one of the best Tristan along with Furt studio from the same year… but it somehow seems to be in quite a bad sound even on orfeo though not unlistenable, rare for a tech maniac like HvK
I would so like to listen, but I cannot take adverts abruptly popping up in the middle of the music. Is there a way you can set it so TH-cam doesn't do this? At least wait for gaps in the music?
Io 9conte di germagnano dell impero francese ELIO Maria Federico junior Tessiore Dell Impero Francese Germagnano Po proclamo L Orfeo e. EURIDICE LA PIÙ GRANDE OPERA DELLA STORIA.
Christoph Willibald Gluck (1714-1787) Orphée et Eurydice / Original Remastered Version.
🎧 Qobuz bit.ly/3LMn40S Tidal tidal.com/browse/album/210870766
🎧 Spotify spoti.fi/3LMnMv4 TH-cam Music bit.ly/3kMXkWs
🎧 Apple Music apple.co/390nyCd Amazon Music amzn.to/3M387aI
🎧 Deezer bit.ly/3ykHMRO Amazon Store amzn.to/3P5GpMv
🎧 Napster bit.ly/38Ue8be Soundcloud -
🎧 LineMusic日本 bit.ly/38ZIysM Awa日本 mf.awa.fm/3sglI71
Click to activate the English subtitles for the presentation (00:00-01:30)
***Complete list of tracks on youtube music and the main streaming music platforms.***
00:00 Overture
03:11 Act 1: Ah, dans ce bois tranquille et sombre - Chœur des bergers et des nymphes, Orphée
07:41 Act 1: Pantomime des bergers et des nymphes
10:10 Act 1: Ah, dans ce bois lugubre et sombre - Chœur, Orphée
23:15 Act 1: Si les doux accords de ta lyre - L’Amour, Orphée
25:43 Act 1: Soumis au silence - L’Amour
29:56 Act 2: Quel est l'audacieux - Chœur des spectres et des furies
36:05 Act 2: Qui t'amène en ces lieux - Chœur
37:05 Act 2: Ah, la flamme qui me dévore - Orphée, Chœur
45:39 Act 2: Danses des Ombres heureuses, Lent et très doux
55:08 Act 2: Air avec chœur, Cet asile aimable et tranquille
58:38 Act 2: Quel nouveau ciel pare ces lieux! - Orphée
1:04:01 Act 2: Viens dans ce séjour paisible - Chœur
1:06:46 Act 2: Danse des Ombres heureuses
1:10:23 Act 2: Ô vous, ombres que j'implore" - Orphée, chœur
1:18:39 Act 3: Viens, suis un époux qui t'adore - Orphée, Eurydice
1:31:46 Act 3: J’ai perdu mon Eurydice - Orphée
1:38:47 Act 3: Tendre amour - Eurydice, Orphée, l'Amour
1:42:30 Act 3: Ballet du Triomphe de l'Amour, Menuet, Dolce
1:51:53 Act 3: L’amour triomphe - Orphée, Chœur des Bergers et des Nymphes - l’Amour, Eurydice
***Complete list of tracks on youtube music and the main streaming music platforms.***
Orphée: Léopold Simoneau
Eurydice: Suzanne Danco
L'amour: Pierrette Alarie
Une Ombre heureuse: Suzanne Danco
Ensemble Vocal Roger Blanchard
Orchestre des Concerts Lamoureux
Conductor: Hans Rosbaud
Recorded in 1956, at Paris
New mastering in 2022 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Christoph Willibald Gluck occupies an unassailable place in the history of music as one of the great "opera reformers." Here is an opera that can be classified at the same level as those of Mozart by its thematic and melodic richness. We are struck by the long orchestral passages that support and consolidate the dramatic framework. He strove to create a new and till then unknown kind of music-drama, in direct opposition to the two main currents in eighteenth-century music theatre - principally, the pandering to vocal virtuosity in opera seria which was rapidly reaching the stage when the singers' skill was becoming an end in itself, but also the Singspiel movement with its banal plots and folk-like, strophic songs. In contradistinction to these, Gluck considered the real task of the music to be the outlining of the dramatic action. Every sentiment, every emotion, every turn in the plot must be mirrored in the music, must indeed be fully comprehensible only through the music. In the poet Ranieri de' Calzabigi Gluck found a librettist who was to inspire and stimulate him, and whose librettos matched his own ideas perfectly.
Gluck's first "reform" opera, "Orfeo ed Euridice," remains his best-known work today. In it his innovations are already strikingly obvious: there is a single, straightforward plot, with a small number of characters, and the musical reform is in its construction in whole, through-composed scenes. With this deliberate construction in whole scenes (the most important point) Gluck moved away from the sharply differentiated recitative and aria customary in the traditional opera seria. In this context, a formative influence on his style was his preference for accompanied recitative, speech-song accompanied by an orchestra, rather than "dry" recitativo secco supported only by a harpsichord. By this practice alone, the use of the same instrumentation for both recitative and aria, the boundaries between the two began to be eroded. By using orchestral accompaniment, Gluck was able to put more colour into his depiction of emotions and characters. Characteristic, too, of Gluck's "emotional" compositional style is his liking for smallish, aria-like forms which differ essentially in scope, construction and function from the large-scale, highly virtuosic, and often dramatically pointless da capo aria of the traditional opera seria. Gluck always makes these short, canzone-like arias subservient to the dramatic conception; this is very evident in the first two acts of "Orfeo," with the extended passages of dialogue between the despairing Orpheus and the Chorus of Spirits of the underworld. In these acts Gluck does not shrink even from a naturalistic portrayal of sighing and lamenting.
Even the modern listener can understand how these innovations in "Orfeo" meant that the work did not enjoy an immediate success after its first performance on 5 October 1762 in the Vienna Hofburgtheater, in spite of the fact that Gluck, even in this "reform" opera, was prepared to make various concessions to public taste - for example in the contrast between the graceful, Rococo figure of Amor, the god of love, and the grave solemnity of the great dialogues between Orpheus and the chorus. The work's happy ending, contrary to Ovid's original version, and the construction of the overture, which, unlike those of Gluck's later "reform" operas, has no thematic connections with the music drama it introduces, may be taken too as vestiges of traditional forms. In spite of these concessions, the work did not achieve real success till 12 years after the first performance, in a slightly altered setting for the Paris Opéra, on 2 August 1774; the most important alteration was the setting of the role of Orpheus for a tenor, instead of the alto of the Vienna version. This recording is based on the Paris version and therefore has none of the amalgamation of elements from both scores that took place after Gluck's death.
Sibelius - Karelia Suite, Valse Triste, Finlandia, The Swan of Tuonela, Tapiola (C.r.: Hans Rosbaud): th-cam.com/video/x1cyAKFUMG0/w-d-xo.html
That's great. You uploaded that about 2 weeks ago. I have started listening immediately after you finished to upload, But suddenly after about one hour of listening the video was shutting down. Probably some problems with copyrights issue.
Thanks for your efforts to upload this amazing rendition again.
N.B Leopold Simoneau is GREAT. Suzanne Danco is also wonderful. The choir is super.
@@Cycle-Tourer Thanks for your feedback :) yes We had found a few weeks ago some problems on the old mastering which was already better first edition. Everything is fixed now, nice listening :)
Gluck, Orpheus és Euridics opera film
We had found a few weeks ago some problems on the old mastering which was already better first edition. Everything is fixed now, nice listening :)
Christoph Willibald Glück was a German. However, Orphée et Eurydice sounds for me much better in French. I heard this work for the first time in 1964 as a lonely and shy medical student at the seaside in my birth land, using a tiny Sanyo transistor radio. It was an experience. The aria J'ai Perdu mon Eurydice or the singing against the Furies stayed within me forever. I reproduced the melodies in a blockflöte so many times that my friends forbidden me to play this music anymore. I cannot be certain but I suspect this version was the one I heard at the time. It was many years before I heard the opera in French again. I felt at the time, and I feel now, that this opera is amongst the most beautiful melodies in the story of western music, and this particular recording is nothing less than a beauty. Thanks for uploading.
Thank you very much for your wonderful comment, much appreciated ;)
@@classicalmusicreference You are most kind.
Fol me its sounds bettel in Chinese!
Christoph Willibald Gluck was Bohemian. A citizen of the Bohemian crown. German-speaking. Like me. I am Swiss. A German-speaking Swiss. That does absolutely not make me a German. The original version of this opera was written in Italian. None of the two earlier versions was ever sung in German. It was only during the 19th century when one began to translate opera into other languages. The 1856 version by Berlioz is - in my humble opinion - the most perfect interpretation of Gluck's work.
@@celloswiss Thanks for your comment. I am completely unable to follow all the changes of the political boundaries within the European continent along the years.
Christoph Willibald Gluck occupies an unassailable place in the history of music as one of the great "opera reformers." Here is an opera that can be classified at the same level as those of Mozart by its thematic and melodic richness. We are struck by the long orchestral passages that support and consolidate the dramatic framework. He strove to create a new and till then unknown kind of music-drama, in direct opposition to the two main currents in eighteenth-century music theatre - principally, the pandering to vocal virtuosity in opera seria which was rapidly reaching the stage when the singers' skill was becoming an end in itself, but also the Singspiel movement with its banal plots and folk-like, strophic songs. In contradistinction to these, Gluck considered the real task of the music to be the outlining of the dramatic action. Every sentiment, every emotion, every turn in the plot must be mirrored in the music, must indeed be fully comprehensible only through the music. In the poet Ranieri de' Calzabigi Gluck found a librettist who was to inspire and stimulate him, and whose librettos matched his own ideas perfectly.
Gluck's first "reform" opera, "Orfeo ed Euridice," remains his best-known work today. In it his innovations are already strikingly obvious: there is a single, straightforward plot, with a small number of characters, and the musical reform is in its construction in whole, through-composed scenes. With this deliberate construction in whole scenes (the most important point) Gluck moved away from the sharply differentiated recitative and aria customary in the traditional opera seria. In this context, a formative influence on his style was his preference for accompanied recitative, speech-song accompanied by an orchestra, rather than "dry" recitativo secco supported only by a harpsichord. By this practice alone, the use of the same instrumentation for both recitative and aria, the boundaries between the two began to be eroded. By using orchestral accompaniment, Gluck was able to put more colour into his depiction of emotions and characters. Characteristic, too, of Gluck's "emotional" compositional style is his liking for smallish, aria-like forms which differ essentially in scope, construction and function from the large-scale, highly virtuosic, and often dramatically pointless da capo aria of the traditional opera seria. Gluck always makes these short, canzone-like arias subservient to the dramatic conception; this is very evident in the first two acts of "Orfeo," with the extended passages of dialogue between the despairing Orpheus and the Chorus of Spirits of the underworld. In these acts Gluck does not shrink even from a naturalistic portrayal of sighing and lamenting.
Even the modern listener can understand how these innovations in "Orfeo" meant that the work did not enjoy an immediate success after its first performance on 5 October 1762 in the Vienna Hofburgtheater, in spite of the fact that Gluck, even in this "reform" opera, was prepared to make various concessions to public taste - for example in the contrast between the graceful, Rococo figure of Amor, the god of love, and the grave solemnity of the great dialogues between Orpheus and the chorus. The work's happy ending, contrary to Ovid's original version, and the construction of the overture, which, unlike those of Gluck's later "reform" operas, has no thematic connections with the music drama it introduces, may be taken too as vestiges of traditional forms. In spite of these concessions, the work did not achieve real success till 12 years after the first performance, in a slightly altered setting for the Paris Opéra, on 2 August 1774; the most important alteration was the setting of the role of Orpheus for a tenor, instead of the alto of the Vienna version. This recording is based on the Paris version and therefore has none of the amalgamation of elements from both scores that took place after Gluck's death.
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@@kornodo002 :)
I had this very recording when I was in high school 50 years ago. It is still the best performance I've heard.
Wunderschöne und detaillierte Interpretation dieser frühromantischen und perfekt komponierten Oper mit herrlichen Stimmen aller genialen Solisten und gut harmonisierten Stimmen des ausgezeichneten Chors sowie gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und geniale deutsche Dirigent leitet das kompakte und ausgezeichnete französische Orchester im gut betrachteten Tempo und mit künstlerisch kontrollierter Dynamik. Wundervoll vom Anfang bis zum Ende!
Aufnahme von 1956 :)
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This is
ABSOLUTELY BEAUTIFUL
Spectacular sound
🙏💜🙏
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Il s'agît de la version pour Ténor écrite par Gluck pour Paris en 1774. Etant de loin la plus parfaite, on se demande pourquoi dans de nombreux enregistrements de l'opéra on revient si souvent à la primitive version viennoise de l'opéra, chantée en langue italienne. D'abord, la version de Paris possède l'avantage d'avoir été écrite pour un Ténor aïgu, mais quand même pour un homme, ce qui donne au développement dramatique un sens bien plus équilibré. Il était temps d'en finir avec la vieille tradition des Castrati, par la suite remplacés durant longtemps par des Alti. Et parce que la version de Paris, écrite par Gluck lui-même, contient de nombreux fragments crées (ou recrées) à l'effet qui ne sont pas de simples ajoutiers, des entrées de ballet décoratives, mais des passages orchestraux au sens dramatique précis qui interviennent et se déployent dans l'action. Voilà donc le propos réformateur de Gluck: il en est ainsi un changement formel dans la structure même de l'opéra, qui n'est plus l'assemblage de passages chantés, par les Soli et le Choeur, mais ayant aussi des passages entiers consacrés à l'orchestre, qui soutiennent et développent l'action dans le sens de la métaphore. Tout ceci sous-entendant qu'absolûment tous les entegistrements de la version viennoise primitive d'Orphée empruntent, d'une ou autre façon, des passages entiers de la définitive version française. Voyons voir les nombreux passages introduits par Gluck dans la version de Paris:
Premier Acte:
Air de l'Amour: Si les doux accords de ta lyre...!
Deuxième Acte:
Danse des Furies (empruntée au ballet Don Juan (1761)
Danse des Esprits Bienheureux, avec son merveilleux solo de flûte;
La Gavotte des Ombres, qui la suit;
Air d'Eurydice: Cet asile aimable et tranquille (faussement atribué à un personnage imaginaire, Une Ombre Heureuse);
Le Choeur des Ombres Heureuses: Viens dans ce séjour paisible...!
suivi du Ballet qui complète le tableau, peinture admirable du bonheur mélancholique et inaltéré de la Vie au delà des passions humaines;
Troisième Acte:
Le Ballet final, juste avant le choeur L'Amour triomphe...!, moment enchanté de méditation, constitué avec la Chaconne d"Iphigénie en Aulide et un Trio extrait de Paride ed Elena, avec certaines variations.
Et puis, disons-le franchement, l'alliage de la divine musique de Gluck avec un certain sens poétique de la langue française offre ce baume captivant et ce ravissement artistique si particulier de Gluck, qui frappe notre sensibilité. Par rapport au Choeur des Ombres Heureuses du Second Acte, nous avons une référence particulière à souligner. Christoph Willibald était l'aîné de plusieurs frères. Alexander Gluck, le père, était au service du Prince Kaunitz comme garde forestier dans les possessions du Prince à Neuschloß, au nord de Bohème. D'ailleurs, le nom de famille du musicien, Gluck, était d'aussi d'origine bohème. Donc, ce père à la disposition d'âme âpre et énergique inculqua à ses enfants des sentiments d'honnêteté et de vaillance. Christoph Willibald apprìt dès l'enfance à gagner son pain accompagnant son père à travers forêts. Ce mode de vie tempéra le charactère de Christoph Willibald, et lui donna le souffle puissant pour exprimer ses sentiments envers la Nature. Le sens de la Nature est présent dans toute son oeuvre. Gluck a été, d'après le terme de Rousseau, un fils de la Nature. Mais Gluck a rarement exprimé ce sentiment de Nature avec tellement de force comme dans le Choeur des Ombres Heureuses. La suggestion merveilleuse des bois, la vision des ramées fleuries dans les bocages, l'imposante présence de vieux arbres au troncs puissants, à l'écorce épaisse, à la frondaison presque surnaturelle... Le souvenir si vivant des beaux bois de Bohème est tout à fait présent dans ce choeur qui est presque un hymne religieux, une prière d'extase face à la beauté de la Création. Si Häendel ressentit la nécessité de se mettre à genoux, pris par l'extase, durant la composition de l'Alleluia du Messie, on sent bien le même souffle d'extase devant le Tout-Puissant et la Création, exprimé par Gluck dans ce Choeur des Ombres Heureuses:
Viens dans ce séjour paisible,
époux tendre, amant sensible,
viens bannir tes justes regrets!
Eurydice va paraître,
Eurydice va rennaître,
avec de nouveaux attraits.
La présente version, enregistrée en 1956, est insurpassable. La performance de Léopold Simoneau est extraordinaire. Ayant une technique parfaite, il passe de la voix de poitrine au fausset avec une naturalité telle, qu'on n'en remarque pas la transition. Durant le long Cantabile du Premier Acte, et la Descente aux Enfers dans le Second, son chant prend les airs d'une prière. Suzanne Danco, cantatrice belge résidente en Italie, était à l'époque à l'entête des grandes répartitions d'opéras mozartiens. Pierrette Alarie, épouse de Léopold Simoneau, québecoise comme lui, avait un beau timbre, d'une remarquable clarté, et aborda plusieurs rôles, mozartiens et autres, dans sa carrière internationale. Le grand Hans Rosbaud marquait les temps avec une justesse de merveille.
Bref, une histoire d'amour, simple et dépouillée, avec seulement deux personnages, un homme et une femme, puisque le troisième, l'Amour, est imaginaire. Le génie de Gluck en a fait un opéra merveilleux, d'une beauté étourdissante. Christoph Willibald Gluck, Chevalier de l'Eperon d'Or, Patriarche de la Musique! Et toujours ses mélodies émouvantes qui résonnent dans l'Eternité!
Pedro Miguel, Mar del Plata, Argentine
Bien merci pour votre intelligent analyse. Je suis d'accord. Bonne chance!
The sound through my good headphones is superb! Thank you so much for giving it another try even those it must have cost you some wearying work. I have never listened to this recording before, and it’s a great treat!
Very proud of the engineer's work, the recording is however from 1956 :) Enjoy!
This is great, you guys. Such a wonderful performance. Ideal for preparing an intricate dish in the kitchen. Many thanks.
Thank you from the bottom of my heart!!! BRAVO!!!
Rosbaud, one of the most underrated Conductors.
I would say it differently. In fact, he is one of the most highly rated of all conductors, but unfortunately only known to a small portion of the audience that would love his work if only they knew it. Among professional musicians I've never known anyone to regard him with less than admiration bordering on awe.
This splendor and magnificence of words can not attach it
Thank you for this soul's balm.
Stunningly beautiful. Thanks!!
This is a fantastic opera with absolutely beautiful music and singing.
I watch the version with Bejun Metha continuously but for sheer listening enjoyment this is magnificent.
The recording quality is of a very high standard.
Brilliant work in providing such a great opera which should be listened to uninterrupted.
Yes i pay the money for TH-cam Prime but it is so worth it not to hear pathetic dross constantly breaking into such superb artwork.
Magnificent !!!!!! Thanks CMRR.
^^
My first Orphee.
Rosbaud auch bei Mozart(Don Giovanni,Figaro oder Entführung ) ein Maßstab,Haydn sowieso!!!Wo ist so ein Tenor wie Simoneau heute???
Simply amazing! Thank you.
Thank you.
I come from the impatience of the heart by Stefan Zweig. it's hofmiller's favorite opera
The Original was in Italian IOrfeo ed Eurydice) - the French version came later, i think the last version was the German one.
Magnifique !
Благодарю вас!Очень!
Спасибо. Почаще присылайте мне оперы в прекрасном исполнении, скрипичные концерты.
Would you consider remastering the famous Karajan 52 Tristen at Bayreuth? Would love to hear it with slightly better sound lol
We are not familiar with this version, we will listen again :)
@@classicalmusicreference although I haven’t listened to it, but people regard it as one of the best Tristan along with Furt studio from the same year… but it somehow seems to be in quite a bad sound even on orfeo though not unlistenable, rare for a tech maniac like HvK
@@classicalmusicreference would really appreciate it if the sound could be improved even slightly before actually listening to that performance ✨
Как прекрасно. Спасибо
48:07 says it all
I have proud of this l’art.
Prelijepo❤
Hermosa música... me recuerda tanto a mi papá.
für mich die beste aufnahme!
Love the music but did not listen to all as some Philistine added ads!!
I would so like to listen, but I cannot take adverts abruptly popping up in the middle of the music. Is there a way you can set it so TH-cam doesn't do this? At least wait for gaps in the music?
pagar 10 pavos al mes y se acabó el problema
Bellissimo
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🌹❤🌹
Non è la versione originale, è semplicemente la versione francese del 1774. L'originale è in italiano, il libretto è di Calzabigi.
Eurydice
Nothing escapes you, thank you :)
@@classicalmusicreference My pleasure! You're welcome!
Not that relevant, but is a reference recording of Liszt's St Elizabeth Oratorio going to included in the upcoming uploads?
48:00 melody
41:11 dance of the furies
Io 9conte di germagnano dell impero francese ELIO Maria Federico junior Tessiore Dell Impero Francese Germagnano Po proclamo L Orfeo e. EURIDICE LA PIÙ GRANDE OPERA DELLA STORIA.
Gluck - sehr nah an Mozart, in Tiefe Dramatik. Der Reigen seeliger Geister
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