This is the masterwork, Gluck's last important opera, which convinced the teenage medical student Berlioz, when he first heard it in 1821, that he had to be a composer. He worshipped Gluck and took his side in the phoney "Gluck vs.Piccini War". He set himself the task of sitting in the Conservatoire library to copy out the entire score in order to absorb its lessons. Its directness and drama influenced his artistic style his whole life through, as evinced by key points in "Les Troyens".
"Die Sängerinnen und Sänger haben allesamt sehr intensiv an den Koloraturen gearbeitet und sind den teils horrenden Schwierigkeiten der Arien gut gewachsen … Außerdem sind die Rezitative mit hohem Konversationstempo und fantasievoller Generalbass-Improvisation umgesetzt." ~FonoForum
This is a full recording of the original Italian version (the “Vienna version” from 1762) of Gluck’s beloved take on the Orpheus myth, Orfeo et Euridice PLUS extra music written by Gluck for later performances of his opera. It includes virtuoso arias for Fagioli and as such represents a brilliant showcase for him and a collectible item for connoisseurs. This is Franco Fagioli’s first ever recording of a complete opera in which he sings the title role and since, the role has become one of Franco’s calling cards in recent seasons. It is known for its absolutely gorgeous music, including one of opera’s most audience-pleasing tunes, the uber-famous aria “Che farò senza Euridice”. This version of the opera (by far the most popular one) appears for the first time ever on period instruments on DG / Archiv, hence filling a major gap in our catalogue and is a substantial project featuring one of our exciting new signings in one of his finest roles.
Once you listen to this account, it's easily understandable just why Orfeo ed Euridice has become the most famous opera by Christoph Willibald Gluck. Based on the well-known story from antiquity, Gluck composed a varied, engrossing music full of melodious arias, stirring dances, and dramatic duets and choruses. Conductor René Jacobs has decided here to eschew countertenor casting, with the result that we can enjoy mezzo-soprano Bernarda Fink as Orfeo. She interprets the part of the lovesick hero with vocal precision, stylistic assurance and admirably clear articulation. Her voice radiates warmth and resonates beautifully but at the same time with strength–especially in the highly dramatic Act III, which she, together with Veronica Cangemi (Euridice), shapes with an almost stormy emotional fervour. Maria Christina Kiehr sings with angelic beauty as Amore, while Jacobs leads the Freiburg Baroque Orchestra and the Rias Chamber Choir with verve and sweep in a recording that conveys limber beauty under the aegis of the historically-informed practice movement.
Two late and baleful tragedies by Euripides focus on the ill-starred daughter of the Greek King, Agamemnon. Will he sacrifice Iphigenia in order to secure fair winds for his voyage to Troy? In Aulis, the drama rages until she is spared. Having escaped to Tauris, Iphigenia finds herself compelled to kill her own brother before, once more, the fickle gods intervene.