Opting for the French-language version of Orpheus, David Alagna was faced with the task of achieving an appropriately subtle adaptation. In a plot transposed to the present day, Eurydice dies in a car accident on the day of her wedding and Orpheus's quest for his beloved is a dream beginning and ending at the cemetery. No happy ending in this interpretation, but a new approach to characterisation: Amore, sung by a baritone, becomes a funeral parlour employee and Orpheus' guide. Orpheus, of course, loses his loved one forever by turning to look back. World famous tenor Roberto Alagna throws himself body and soul into this production. His incredible vitality, flawless timbre and diction make him a great Orpheus. His partner, young Italian soprano Serena Gamberoni, is simply stunning as Eurydice, while French baritone Marc Barrard is suitably terrifying as the guide to the Underworld. The orchestra is conducted by Giampaolo Bisanti, who masterfully brings out all Gluck's poetry, romantic melancholy and depth.
Orfeo ed Euridice (1762) represents the first of a series of operatic successes by the German composer Christoph Willibald Ritter von Gluck (1714-1787). It is his best-known opera and his greatest reform work (first performed in Vienna on 5 October 1762). Gluck broke every courtly convention governing the operatic art form of the time. He strove for naturalness and simplicity in both subject and music. Gluck liberated opera from its rigid confines, refrained from the pointless embellishment of arias, and replaced the recitativo secco with orchestral recitatives or recitativo accompagnato, creating through-composed forms of unprecedented drama. He also gave lyricism a greater significance in relation to the music. Gluck's importance in opera's overall history is matched only by Claudio Monteverdi, Wolfgang Amadeus Mozart and Richard Wagner…
"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.
A splendid cast as well as an avant-garde production that makes extensive use of large projection screens and includes members of the orchestra as actors onstage result in one of the most exciting opera performances in recent years.