For this weekend
Gluck opera discs are my picks for this week,
Magdaléna Kožená as Orphée, Patricia Petibon as L`Amour, Gardiner, 1999 performance at the Théâtre Musical de Paris.
Iphigenie en Aulide, Lyon Opera Orchestra/ Gardiner.
Gluck's first reform opera for Paris.
Gardiner presses the music forward eagerly and keeps the tension at a high level even in the dance music.
Iphigenie en Tauride, Boston Baroque/ Martin Peralman
Very vivid and dramatic playing.
Orfeo ed Euridice, Freiburg Baroque Opera/ Rene Jacobs
The best version of the Italian original. Jacobs draws the high energy, the sharply defined textures and dynamics.
However it's the singer of Orpheus, even more than the conductor, who gives character to a performance of this work. Bernarda Fink sings the role here very beautifully and quite unaffectedly.
Armide, Les Musiciend du Louvre/ Marc Minkowski.
Minkowski has a tendency towards quickish tempos, resulting in a very light and flexible performance with rhythmic spring.
Magdaléna Kožená as Orphée, Patricia Petibon as L`Amour, Gardiner, 1999 performance at the Théâtre Musical de Paris.
Iphigenie en Aulide, Lyon Opera Orchestra/ Gardiner.
Gluck's first reform opera for Paris.
Gardiner presses the music forward eagerly and keeps the tension at a high level even in the dance music.
Iphigenie en Tauride, Boston Baroque/ Martin Peralman
Very vivid and dramatic playing.
Orfeo ed Euridice, Freiburg Baroque Opera/ Rene Jacobs
The best version of the Italian original. Jacobs draws the high energy, the sharply defined textures and dynamics.
However it's the singer of Orpheus, even more than the conductor, who gives character to a performance of this work. Bernarda Fink sings the role here very beautifully and quite unaffectedly.
Armide, Les Musiciend du Louvre/ Marc Minkowski.
Minkowski has a tendency towards quickish tempos, resulting in a very light and flexible performance with rhythmic spring.


6 Comments:
Gluck's Alceste from Arnold Ostman conveys effectively the intensity and the integrity of Gluck's vision. Under the Ostman's direction, Drottningholm orchestra ensures that the detail of accompanying textures is clearly heard, playing gently and lightly in the dances.
Teresa Ringholz controlled manner - there's no outburst of grief when she bids her children farewell at the end of the act, for example - catches well the stylised nature of Gluck's expression.
Securely recommended.
If my memory serves to me correctly, Ostman takes the Italian original. I still doubt that the Italian original is not flawed.
For example, the French version, its final form, introduces a third main character, Hercules, who goes to Hades to bring Alceste back which is true to Euripedes.
On the other hand it is Apollo himself in the Italian version who intervenes to restore her - it is could be said the power of love which is much more plausible in 18th century opera-. The introduction of Hercules strikes me as the more dramatic. Also the French is more musically richer, more flexible and dramatically more persuasive ( partly due to the introduction of Hercules), deeper in its treatment of the emotions and the humanity of the two central characters.
Also, I'm not so sure that Ostman's typical conducting to urgently urge the orchestra efficiently brings out Gluck Opera's own integrity and intense. ( I am so disappointed his L'Oiseau-Lyre Mozart opera recordings which sound like the performance on an exhibition of student works.)
Of course, this disc's modest asking-price draws my interests. If I were not deeply interested in Handel, Vivaldi, Mozart, Byrd, Monteverdi, Rameau and Charpentier, I would buy this disc.
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