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Strona Główna Muzyka Klasyczna Gluck Christoph Willibald Gluck - Orfeo Ed Euridice (Fasano,Verrett,Moffo,Raskin) [1990]

Gluck - Orfeo Ed Euridice (Fasano,Verrett,Moffo,Raskin) [1990]

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Gluck - Orfeo Ed Euridice (Fasano,Verrett,Moffo,Raskin) [1990]

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1	Act I: Ov			
2	Act I: Ah! Se Intorno A Quest'urna Funesta			
3	Act I: Amici, Quel Lamento			
4	Act I: Pantomime			
5	Act I: Ah! Se Intorno			
6	Act I: Restar Vogl'io Da Sol			
7	Act I: Chiamo Il Mio Ben Cosi			
8	Act I: Euridice, Euridice			
9	Act I: Cerco Il Mio Ben Cosi			
10	Act I: Euridice! Euridice!			
11	Act I: Piango Il Mio Ben Cosi			
12	Act I: O Numi, Barbari Numi			
13	Act I: Amore Assitera			
14	Act I: Se Il Dolce Suon De La Tua Lira			
15	Act I: Ciel! Lei Riveder Potro!			
16	Act I: Gli Sguardi Trattieni			
17	Act I: Che Disse! Che Ascoltai			
18	Act II, Scene 1: Orchestral Intro			
19	Act II, Scene 1: Chi Mai Dell'Erebo			
20	Act II, Scene 1: Dance Of A Fury			
21	Act II, Scene 1: Chi Mai Dell'Erebo			
22	Act II, Scene 1: Deh! Placatevi Con Me!			
23	Act II, Scene 1: Misero Giovine!			
24	Act II, Scene 1: Mille Pene, Ombre Sdegnose			
25	Act II, Scene 1: Ah! Quale Incognito			
26	Act II, Scene 1: Men Tiranne, Ah, Voi Sareste			
27	Act II, Scene 1: Ah! Quale Incognito			
28	Act II, Scene 1: Dance Of The Furies			
29	Act II, Scene 2: Dance Of The Blessed Spirits			
30	Act II, Scene 2: Air			
31	Act II, Scene 2: Questo Asilo Di Placide Calme

1	Act II, Scene 2: Che Piro Ciel! Che Chiaro Sol!			
2	Act II, Scene 2: Vieni Ai Regni Del Riposo			
3	Act II, Scene 2: Dance Of The Heroes			
4	Act II, Scene 2: O Voi, Ombre Felici			
5	Act II, Scene 2: Torna, O Bella			
6	Act III: Vieni! Segui I Miei Passi			
7	Act III: Vieni! Vieni Appaga			
8	Act III: Qual Vita E Questa Mai			
9	Act III: Che Fiero Momento!			
10	Act III: Avvezza Al Contento			
11	Act III: Che Fiero Momento!			
12	Act III: Ecco Novel Tormento!			
13	Act III: Che Faro Senza Euridice?			
14	Act III: Ah! Finisca E Per Sempre			
15	Act III: Orfeo! Che Fai?			
16	Act III: Trionfi Amore			
17	Act III, Ballet: Gracieux			
18	Act III, Ballet: Gavotte			
19	Act III, Ballet: Air Vif			
20	Act III, Ballet: Menuet			
21	Act III, Ballet: Divo Amore, Son Tue Pene			
22	Act III, Ballet: Maestoso			
23	Act III, Ballet: Tres Lentement			
24	Act III, Ballet: Chaconne

Orfeo - Shirley Verrett
Euridice - Anna Moffo
Amore - Judith Raskin
Polyphonic Chorus of Rome
Instrumental Ensemble of the Collegium Musicum Italicum
I Virtuosi di Roma
Conductor - Renato Fasano

Date of Recording: 1965


This recording of Orfeo dates back 25 years. It was much admired in its day, and may still be. It presents a traditional composite version of the score, incorporating most of the Paris additions (but not the bravura aria for Orfeo at the end of Act 1) with the alto voice and the key-scheme to go with it from the Viennese-Italian version: an understandable attempt to get the best of every world. Shirley Verrett makes a deeply impressive Orfeo, firm and pure in sound, classically restrained in expression; and her ''Che faro'', at a moderate, beautifully judged speed, is very finely sung, poised and quietly moving. The many other good moments include ''Che puro ciel'', done with a real sense of wonderment, to sounds of delicious refinement from the orchestra. Anna Moffo provides a competent, not specially interesting Euridice and there is an Amor of real charm and style from the late Judith Raskin.

The set is conducted by Renato Fasano, whose pacing of the score shows a very sure touch. The dance music has a grace and lightness, and a stylistic command, that one might not have expected from an orchestra which in those days seemed to be fed chiefly on a diet of Vivaldi. Their Gluck playing is first-rate; nowadays we tend to phrase this music in less long-breathed a way, but this performance is of its time and represents its time persuasively. There is an excellent chorus, singing in their native tongue—a real advantage.

Anybody wanting a traditional mixed text of Orfeo should, I think, consider this version very seriously. The immediate competitor is of course the recent Haenchen set, with Jochen Kowalski (Capriccio/Target), whose smooth yet passionate singing is undeniably impressive; but taken all round I am inclined to recommend the Verrett on the strength of the direction and supporting cast to anyone wanting this text and certainly to anyone who is not happy with a male alto as Orfeo. My own preference, among all current performances, remains with the Kuijken set on Accent, on period instruments and offering a 'pure' text, but I realize that it will not be to everyone's taste.-- -Stanley Sadie, Gramophone

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