orfeo und eurydike

[31], For the 1774 French version, Orphée et Eurydice, tragédie opéra in three acts, the libretto was published by Delormel (Paris, 1774) and the full score by Lemarchand (Paris, 1774). [27] The first Orfeo, Gaetano Guadagni, was reputedly a fine actor who had certainly taken lessons while in London from the renowned Shakespearian actor David Garrick. Arranged by Moehn, Heinz. Il raconte le mythe grec d'Orphée et Eurydice Orphée et Eurydice (Orfeo ed Euridice) est un opéra italien en une ouverture et trois actes de Christoph Willibald Gluck (1714-1787) qui a été commandé par le diplomate italien et homme de théâtre Giacomo Durazzo à l'occasion de la célébration de la fête de François 1er d'Autriche. [6] Neither castrato nor chalumeau were to survive. Orfeo resolves to take on the quest. Renamed Orphée et Eurydice,[3] this version had a French libretto by Pierre-Louis Moline, which expanded as well as translated Calzabigi's original. L'orthographe originale du titre de la version française de 1774 est « Orphée et Euridice », où le second nom n'observe pas l'orthographe moderne correcte, « Eurydice » (cfr. 41 – Orphée et Eurydice (1774), revised version (French). La version de Berlioz conserve ses défenseurs. [2] In recent years, recordings and stage productions of the Vienna version of the opera have featured countertenors in the role of Orpheus. ORPHEUS UND EURIDIKE Krenek le 22/11/2016. Les enregistrements sont fort nombreux. This is followed (1774 only) by a solo which celebrates happiness in eternal bliss ("Cet asile"), sung by either an unnamed Spirit or Euridice, and repeated by the chorus. I knew the story, having seen the entire opera with a contra-tenor playing Orpheus. Vous avez la possibilité avant de télécharger Orpheus Und Eurydike mp3 musique sur votre appareil mobile, votre ordinateur ou votre tablette. There is also a DVD of the 1993 Australian Opera production, directed by Stefanos Lazaridis, with Australian haute-contre David Hobson as Orphée. Source / Web : University of Rochester : Sheet central : Orfeo ed Euridice (23 sheet music) Added by FS the 2017-04-01: 0 comment. [2]), From 1784 to 1859 the Parisian diapason (concert pitch) rose steadily from 820 to 896 cycles per second,[14] thus Gluck's French version for haute-contre became increasingly impractical. [2], For the original 1762 Italian version, Orfeo ed Euridice, azione teatrale in three acts, the libretto was published by van Ghelen (Vienna, 1762) and the full score by Duchesne (Paris, 1764). [2] Fischer-Dieskau recorded the opera several times; his recordings are still available commercially. 21, Act III: Tanzen! Orfeo ed Euridice is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama.[2]. [2] Typically during the 19th century and for most of the 20th century, the role of Orfeo was sung by a female contralto, and noted interpreters of the role from this time include Dame Clara Butt and Kathleen Ferrier, and the mezzo-sopranos Rita Gorr, Marilyn Horne, Dame Janet Baker, Susanne Marsee, and Risë Stevens (at the Metropolitan Opera). Orpheus und Eurydike: language : Italian / German. In 2017 the Lyric Opera of Chicago presented a new production by choreographer John Neumeier which fuses the musical and ballet elements of the opera and features the Joffrey Ballet. L’opéra fut inséré comme troisième acte dans un spectacle de fragments (ou spectacle coupé) sur le modèle alors très à la mode en France. [2] The coup de théâtre of opening the drama with a chorus mourning one of the main characters is very similar to that used in Rameau's Castor et Pollux (1737). À l'acte III, les deux époux remontent vers la terre mais Eurydice s'inquiète de l'indifférence d'Orphée qui ne peut la regarder, ni expliquer la raison de son attitude. Enregistrement Deutsche Grammophon (Archiv) de 2004, Enregistrement Decca de 2010, Coro y Orquesta Titular del, Enregistrement EMI, 1989, l'Orchestre de l', En italien : EMI, 1951, l'Orchestre de l'opéra néerlandais dirigé par, En italien : RCA, 1965, l'orchestre I virtuosi et le Chœur Polyphonique de Rome, dirigés par, En italien : Decca, 1969, l'Orchestre et le Cœur de la, En italien (version de Naples 1774): Erato, 2018, l'orchestre I Barocchisti et le Chœur de la. [1] The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. La dernière modification de cette page a été faite le 7 février 2021 à 20:18. In April 2010, a concert performance recorded in Madrid two years earlier by tenore di grazia Juan Diego Flórez, was finally released. $45.95 / Azione teatrale per musica in drei Akten. She does not understand his action and reproaches him, but he must suffer in silence (Duet: "Vieni, appaga il tuo consorte"/"Viens, suis un époux"). par Pierre Flinois. She sings of her grief at Orfeo's supposed infidelity in the aria "Che fiero momento"/"Fortune ennemie" (in 1774, there is a brief duet before the reprise). Dans ce bois"). Tanzen! Discover releases, reviews, track listings, recommendations, and more about Gluck* - Risë Stevens, Lisa Della Casa, Roberta Peters, Pierre Monteux, Rome Opera House Orchestra* And Chorus* - Orfeo And Euridice (Abridged) at Discogs. Partition Orfeo ed Euridice - Orpheus und Eurydike Gluck Christoph Willibald (Ritter Von) Chant/Vocal/Choeur - Chant/Vocal/Choeur. Dynamic Microphones. - C. W. Gluck, comp.. - [11] (2012) La discothèque idéale de l'opéra Vol. Guadagni was apparently also able to project a moving and emotive tone without raising his voice. Edited by Abert, Anna Amalie;Finscher, Ludwig. In 2002 haute-contre Jean-Paul Fouchécourt added his version, while Marc Minkowski brought out a period instrument performance with Richard Croft in the title role in 2004. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold. [9] The main characters are presented in a modern setting with Orfeo as a choreographer, Euridice as his principal dancer, and Amour as his assistant. Orphée. Lors de son séjour en France, invité par la jeune dauphine Marie-Antoinette d'Autriche, le compositeur dut adapter son opéra selon le goût français en confiant le rôle principal à une voix de haute-contre (ténor à la tessiture élevée) sur un livret traduit par Pierre-Louis Moline et sous le titre Orphée et Euridice[1]. from the Furies, but they are eventually softened by the sweetness of his singing in the arias "Mille pene"/"Ah! Catálogo Museo del Prado, 1873-1907. No. The modern practice of approximating castrati by using countertenors as replacements dates back only to 1950. [2], Gluck made a number of changes to the orchestration of Orfeo when adapting it from the original Italian version to the French version of 1774. Also absent is traditional secco recitative, where the voice is accompanied only by the basso continuo. Since about 1870 three-act adaptations of the Berlioz score, translating it back into Italian and restoring much of the music from the 1774 French version which Berlioz had left out, were common. Orfeo ed Euridice, an opera by Christoph Willibald Gluck (1762) Orfeo ed Euridice , an opera by Ferdinando Bertoni (1776) Orpheus in the Underworld, an operetta by Jacques Offenbach (1858) Orpheus und Eurydike, an opera by Ernst Krenek (1926) Orpheus and Eurydice, a ballet choreographed by Dame Ninette de Valois with music by Gluck (1941) L'Amour surgit pour l'empêcher de se suicider et lui rend Eurydice, l'œuvre s'achevant dans la version parisienne par un long ballet. Guère d'intérêt n'a été montré pour la version de Parme peut-être par crainte d'une trop grande homogénéité de timbre (il n'y a que des sopranos dans la distribution). Eurydice paraît et retrouve Orphée. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. Berlioz's version is one of many which combine the Italian and French scores, although it is the most influential and well regarded. All dynamic microphone for singing. [4] Algarotti proposed a heavily simplified model of opera seria, with the drama pre-eminent, instead of the music or ballet or staging. Il raconte le mythe grec d'Orphée et Eurydice. Orfeo arrives and marvels at the purity of the air in an arioso ("Che puro ciel"/"Quel nouveau ciel"). [15] When Adolphe Nourrit sang the role at the Opéra in 1824 his music was altered. Hector Berlioz dut procéder à un remaniement[8] pour permettre à la mezzo-soprano Pauline Viardot de chanter Orphée. Gluck compose ainsi son Orfeo ed Euridice (1762) puis sa version française Orphée et Eurydice (1774), et Jacques Offenbach son satirique Orphée aux enfers (1858). View credits, reviews, tracks and shop for the 1928 Shellac release of „Orpheus Und Eurydike“ / „Orfeo Ed Eurdice“ on Discogs. In reward for Orfeo's continued love, Amore returns Euridice to life, and she and Orfeo are reunited. [6] Each verse of the strophic "Chiamo il mio ben cosi" is accompanied by different solo instruments. Écoutez des chansons intégrales de Orpheus und Eurydike, Op. Écouter de la musique Telecharger VLC. Self-contained arias and choruses make way for shorter pieces strung together to make larger structural units. In this recording Philippe Jaroussky sings Orfeo and Amanda Forsythe is Euridice. [17] The composer Hector Berlioz was a close friend of Viardot and the leading expert in France on the music of Gluck. [13], Gluck revised the score again for a production by the Paris Opera premiering on 2 August 1774 at the second Salle du Palais-Royal. [6] During the aria "Chiamo il mio ben cosi" and the interspersing recitatives Gluck added another offstage orchestra consisting of strings and chalumeaux, in order to provide an echo effect. (The seventeen-year-old Jules Massenet was the orchestra's timpanist. "[6], Other influences included the composer Niccolò Jommelli and his maître de ballet at Stuttgart, Jean-Georges Noverre. No. In deutscher Sprache. Until recent times, most recordings of all versions were cut or altered in some way.[33]. Pesaro, orfeo tra gli animali, 1550-75 ca..JPG 1,517 × 1,509; 1.66 MB Peter Ykens and Pieter Spierinckx – Orpheus Playing the Lyre to Hades and Persephone.jpg 800 × 727; 342 KB Rosi Lampe und Ulrike Richter - Orpheus und Eurydike.jpg 3,072 × 2,048; 3.17 MB Azione teatrale per musica in drei Akten von Raniero de' Calzabigi, herausgegeben von Anna Amalie Abert und Ludwig Finscher (Wiener-Fassung von 1762). Die Musik stammt von Christoph Willibald Gluck, das Libretto von Ranieri de’ Calzabigi. (By 1825 operatic castrati themselves had virtually vanished, and performances of the original version for castrato became increasingly rare. [12], In 1769 for Le feste d'Apollo at Parma which was conducted by the composer, Gluck transposed part of the role of Orfeo up for the soprano castrato Giuseppe Millico, maintaining a libretto in Italian. In 2018 Erato released a recording using the score as performed in Italian at the Teatro San Carlo in Naples in 1774. The first lines of arias, choruses, etc., are given in Italian (1762 version) and French (1774 version). Pina Bausch took Gluck's ancient Orpheus and Eurydike opera and tells the story very strongly. During the early 19th century, Adolphe Nourrit became particularly well known for his performances of Orpheus at the Paris Opera. [2] Among conductors, Arturo Toscanini was a notable proponent of the opera. He returned to the Italian version only when he considered it to be superior either in terms of music or in terms of the drama. [1], In a rocky landscape, the Furies refuse to admit Orfeo to the Underworld, and sing of Cerberus, its canine guardian ("Chi mai dell’Erebo"/"Quel est l'audacieux"). Choreography was by Gasparo Angiolini, and set designs were by Giovanni Maria Quaglio the Elder, both leading members of their fields. Orpheus und Eurydike / Orfeo ed Euridice. Après une ouverture enlevée et joyeuse, le rideau se lève à l'acte I … [10] The same production was staged by the Los Angeles Opera in 2018 and by the Staatsoper Hamburg[11] and the Festspielhaus Baden-Baden in 2019. The opera is the most popular of Gluck's works,[2] and was one of the most influential on subsequent German operas. As encouragement, Amore informs Orfeo that his present suffering shall be short-lived with the aria "Gli sguardi trattieni"/"Soumis au silence". The production was supervised by the reformist theatre administrator, Count Giacomo Durazzo. The production was a popular and critical success, filling the house every night, and was given a total of 138 times by the company. There is also accompaniment from the strings (playing in triplets) and the continuo in the most complex orchestration that Gluck ever wrote. [20] In his adaptation, Berlioz used the key scheme of the 1762 Vienna score while incorporating much of the additional music of the 1774 Paris score. [30] A critical edition, edited by Anna Amalie Abert and Ludwig Finscher, was published in 1963 as part of Bärenreiter's Sämtliche Werke ("Complete Works"). Orphée se lamente dans le célèbre Che farò senza Euridice (dans la version française : J'ai perdu mon Euridice). "[25] Still this was apparently enough that later in the 19th century the role of Orpheus came to be sung almost as frequently by a tenor as by a contralto.[21]. Jommelli himself was noted for his blending of all aspects of the production: ballet, staging, and audience.[7]. Un ciel serein succède aux sombres bords du Cocyte, prétexte dans la version parisienne à un ravissant ballet des Ombres heureuses. Dans l’édition parisienne de 1774 Gluck ajuta un nouvel air au deuxième acte, chanté par une. ", both of which are based on harmonies that are not obviously mournful in nature. [6] Cornetts were instruments that were typically used for church music, and chalumeaux were predominant only in chamber music: both cornetts and chalumeaux were unpopular in France in 1774. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing. After a four-movement ballet, all sing in praise of Amore ("Trionfi Amore"). Ronald Hamilton (Orpheus), Dunja Vejzovic (Eurydike), Celina Lindsley (Psyche), Cornelia Kallisch (1re Furie), Gabriele Schreckenbach (2e Furie), Jutta Geister (3e Furie), Hans Franzen (Un ivrogne), Wilfried Gahmlich (Un matelot), Bo Skovhus (Un guerrier, le Fou), ORF-Chor Wien, ORF Symphonie Orchester Wien, dir. Atto d'Orfeo (Acte d'Orphée), 24 août 1769 :Teatrino di corte de Parme, deuxième version en italien, pour soprano castrat, donnée comme troisième acte du spectacle coupé Le feste d'Apollo (it) de Gluck(livret original en ligne). ISBN 3-423-30030-2 Michael Grant und John Hazel: Lexikon der antiken Mythen und Gestalten. ICG 26 Movements/Sections Mov'ts/Sec's: 3 acts Year/Date of Composition Y/D of Comp. Complete your Gluck* - Risë Stevens, Lisa Della Casa, Roberta Peters, Pierre Monteux, Rome Opera House Orchestra* And Chorus* collection. Substantial fragments of autograph scores are in the Bibliothèque Nationale in Paris and the Bibliothèque-Musée de l'Opéra in Paris. Orpheus und Eurydike is a dance-opera. Unable to take any more, Orfeo turns and looks at Euridice; again, she dies.

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