FULL Orphee et Eurydice (version Berlioz) Santiago De Compostela 2020 Olga Syniakova, Alicia Amo, Beatriz De Sousa
Information on the Performance
- Work Title: Orphee et Eurydice (version Berlioz)
- Composer: Gluck Christoph Willibald
- Libretto: Ranieri de' Calzabigi
- Venue & Opera Company: Auditorium of Galicia, Santiago de Compostela, Spain
- Recorded: November 9, 2020
- Type: Concert Live
- Singers: Olga Syniakova, Alicia Amo, Beatriz De Sousa
- Conductor: Paul Daniel
- Orchestra: Orchestra Real Filharmonía de Galicia
- Chorus: Orquesta Sinfónica de Galicia
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: Olga Syniakova
- Date Published: 2020
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, essubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Gluck’s Orfeo y Euridice , this time in the version by Héctor Berlioz, one of the many that have appeared since the original in Vienna, in 1762, based on Calzabigi’s libretto, to go on stage at the Wien Burgtheater on the 5th of October, on the occasion of the birthday of Emperor Joseph II, always with posh soloists and in particular by the castrato Gaetano Guadagni Orfeo , who would be attended by the sopranos Marianne Banchi- Euridice – and Lucie Glebero-Claverau- Amor -, with a charged attitude of inks by the author, in his demands with the cast of artists.
Paris, in 1774, will sustain the French version, in an adaptation by Pierre-Louis Moline, to which he will add new verses and with revisions by the composer, in the musical finish, with pages such as the aria Si les doux accords de la lyre , in the first act or another of Orfeo’s bravura, L’espoir renait dans mon coeur , presumably by Ferninando Bertoni or a trio from Paride ed Elena – Tendre amour -.
We were with Berlioz’s version of 1859, Orphée et Eurydice , received with singular acceptance, at its destination for the Lyric Theater in Paris, which was then directed by the businessman Leon Carvalho, receiving further advice from a young Camille Saint Saëns and who kept mostly the original model, albeit with a script retouched by Moline. The vocal part of the original castrato, was transferred to the contralto voice, since it was the one that best suited the real possibilities and for greater abundance, it was necessary to take into account that the situation was optimal, since the alternative was Pauline Viardot .
The author did not hesitate when approaching the work, in resorting to borrowings from previous works and in order to preserve maximum expressiveness, he abandoned the secco recitative , opting for slightly shorter recitatives, which are naturally related to the arioso or the aria . , supported by an orchestra in which Gluck points out certain details from the baroque bel canto patterns and the orchestra, with its precise contribution, will help to highlight its sound parameters: the string is divided into four different voices (violins, violas, cellos and double basses), the wood receiving a greater importance than the one that the baroque had given them. granted, especially as harmonic support of sound in general terms.