Gluck: Orfeo ed Eurdice [Original recording remastered]

Editorial Reviews
Amazon.com
Orfeo ed Euridice, by Christoph Willibald Gluck (1714-1787), is one of the most enduring of 18th-century operas, and for all of the right reasons. Its story of the young Greek hero who pursues his lover into the Underworld has all the makings of great theater and music, and was a favored topic of opera from the start. But Gluck's handling of the material surrounds the story with luscious choral and solo lines that make for two hours of thoroughly entrancing music. This release is of the 1957 classic RCA Victor recording, which features Rise Stevens as Orfeo (following the tradition of Gluck's revised version for Paris, which scored the hero for female voice, instead of castrato) and Lisa Della Casa as Euridice, with Roberta Peters as Amore. This is a dazzling recording of the complete opera that easily matches anything on the market today (especially since both latter-day accounts by John Elliot Gardiner have gone out of print). Very highly recommended. --Paul Cook

Tracks:

Birthday Ode For Queen Mary: Soun The Trumpet
The Indian Queen: Let Us Wander, Not Unseen
King Arthur: Shepherd, Shepherd, Cease Decoying
Ottone: Spring Is Coming
Ottone: Come To Me, Soothing Sleep
Orfeo ed Euridice: Chiamo il mio ben cosi (Act 1)
Orfeo ed Euridice: Deh! placatevi con me (Act 2)
Orfeo ed Euridice: Che puro ciel! (Act 2)
Orfeo ed Euridice: Che feci mai?...Che faro senza Euridice? (Act 3)
O Praise the Lord
I will lay me down in peace
I would that my love, Op. 63 No. 1 - Felix Mendelssohn
Greeting, Op. 63 No. 2 - Felix Mendelssohn
Kindertotenlieder: Nun will die Sonn' so hell aufgeh'n
Kindertotenlieder: Nun seh' ich wohl, warum so dunkle Flammen
Kindertotenlieder: Wenn dein Mein tritt zur Tein
Kindertotenlieder: Oft denk' ich, sie sind nur ausgegangen!
Kindertotenlieder: In diesem Wetter, in diesem Braus

Amazon.com essential recording

Even before her tragic death at 41 (in 1953), Kathleen Ferrier became a legend for her incomparable voice, her simplicity and sincerity of expression, and her indomitable courage. This compilation of recordings originally made in the 1940s includes four arias from Gluck's Orfeo ed Euridice recorded live in Holland, which show why Euridice was one of her signature roles. Two beautifully sung Handel arias, two sacred songs by Maurice Greene, and delightful duets by Purcell and Mendelssohn (sung in English with another beloved English singer, Isobel Baillie) are greatly enhanced by the inimitable pianist Gerald Moore. But the core of this recording is the Mahler cycle. Here, Ferrier's voice takes on a new warmth and intensity; her deeply inward, direct expressiveness gives the bereaved parent's grief and anguish a devastating impact. Her reading of the last song could be a bit more spooky, but the end is heartbreaking in its submissive resignation. The Vienna Philharmonic and Bruno Walter are in their native element. --Edith Eisler

Customer Reviews:

Buen documento para conocer y disfrutar a Kathleen Ferrier.......2004-03-27

Este disco realiza un repaso bastante acertado a la carrera de la mitica contralto Kathleen Ferrier, una de esas voces que hicieron historia y que pasaron a la historia, y con razon.
Junto a unos duetos de Purcell y Mendelshon, y otras canciones, asi como unas arias de Haendel, en las que Ferrier ya va mostrando su gran talento, lo mejor de este disco esta indudablemente en la seleccion del 'Orfeo ed Euridice' de Gluck, tomada de unas funciones en directo a principios de los 50. La Ferrier sienta catedra en la interpretacion del personaje: lo lleva dentro, y lo canta de una forma admirable. Sin duda esta es una de las mejores encarnaciones de 'Orfeo' jamas escuchadas.
El otro pilar del disco son los 'Kindertotenlieder' de Mahler, otra de las maximas especialidades de Ferrier, de los que realiza una version antologica, por voz, diccion y expresion, magistralmente dirigida por Bruno Walter. Un lujazo, vamos.
El disco se consigue actualmente a precio medio, y las remasterizaciones son de calidades variadas (puesto que las grabaciones son de años diferentes) pero el nivel general de las mismas es bastante bueno.
Indudablemente este es un disco que hay que poseer, ya que quizas se trate de uno de los mejores documentos existentes para apreciar el tremendo talento de la gran Kathleen Ferrier.

The incredible Kathleen Ferrier recordings!.......2003-05-20

Voice fans, rejoice -- EMI has finally remastered these recordings and released them as one CD at budget price!
While Mahler's "Kindertotenlieder" would be the chief reason for purchasing this CD right away, it also contains several morsels, equally fascinating. Purcell and Mendelsohn's duets, Handel's arias, Greene's spirituals, and 3 live arias from Gluck's "Orfeo ed Euridice". In general, particularly Mahler, the sound is nothing short of phenomenal. BUT why could not these engineers do the same for "Orfeo" selections? There's a lot of noise on these. On all the selection Ferrier's exceptionally dark mezzo (or contralto with a huge upper register) shines brilliantly. Of course, Mahler's songs bemoaning the death of children are not an easy listen by any means. But the melodies are amazingly harmonious and Bruno Walter's superb orchestra provides ideal background for them, with Ferrier's voice blending gorgeously with strings. Only Mussorgsky could take a subject such as this and make it so breathtakingly captivating. It's actually frightening in by itself. Gerald Moore (well-known for his collaboration with Dietrich Fischer-Dieskau) accompanies expertly on Purcell and Mendelsohn's selections.
It would be a treat to hear Ferrier in more alto repertoire; I am just not sure how many were commercially available at the time. Right now, Vivica Genaux is the leading artist in this area, but it would be fascinating to compare these two.
For the sheer vocal marvel experience, do not delay in getting this CD.

A Terrible Beauty.......2002-11-14

Nothing will change my opinion that Mahler should be approached with caution. Like Wagner, the scale and power of his work means that it is simply not for everyone, but inspite of that, this recording is an indespensible part of any serious music lover's collection. Music like this simply is not made any more, but rather this is a glimpse into a past where artists and not accountants ran the music industry.

Mahler's wife Alma bitterly opposed his setting of Ruckert's Kindertotenlieder to music and considering the death of their daughter soon after, it's doubtful if she ever forgave him for it. But the finished work has an indescribable beauty that Kathleen Ferrier and Mahler's protégé Bruno Walter give full expression to in away that no other interpreter's have even approached. More than 50 years on this is both a lasting tribute to the artists involved and an indictment of the decline in standards since.

What is to say - It's Ferrier..........2002-03-31

I bought the CD for the Kindertotenlieder and that's what I am going to write about (though the rest of the program is equally impressive). Ferrier's Mahler interpretations are always in the 5+ star area. When Walter is accompanying her the results are even better (unlike the case of Klemperer). The first song - Nun Will Die Sonn'... the darkness of the music is so prominent, it's breathtaking. All the rest Kindertotenlieder come in the same fashion. If interested in a release with better sound but not these Olympian contritutors, Janet Baker and Christa Ludwig have made some very good discs

How can you go wrong?.......2001-10-22

I said it before, in my review of the Ferrier/Walter performance of Das Lied von der Erde, recently rereleased by Decca; Ferrier is the authoritative interpreter of Mahler songs--and I have never heard anything to equal this performance of Kindertotenlieder.

Average customer rating:

A Sparkling Performance
Fine Orfeo
AN UNDULY NEGLECTED COMPOSER
Juat 'cause I liked it

Gluck: Orfeo ed Eurdice

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00004RC8O
Release Date: 2000-08-08

Tracks:

Orfeo ed Euridice: Overture - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Ah, se intorno a questurna funesta - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Amici, quel lamento - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Pantomime - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Ah, se intorno a quest`urna funesta - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Restar vogl`io da sol - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Chiamo il mio ben cosi - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Euridice, Euridice, - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Cerco il mio ben cosi - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Euridice! Euridice! - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Piango il mio ben cosi - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: O Numi, barbari Numi - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Amore assistera - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Se il dolce suon de la tua lira - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Ciel! Riverderla potro! - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Gli sguardi trattieni - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Che Disse! Che ascoltai! - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Introduction - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Chi mai dell'Erebo - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Dance of a Fury - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Chi mai dell'Erebo - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Deh! Placatevi con me! - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Misero giovane! - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Mille pene, ombre sdegnose - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Ah, quale incognito - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Men tiranne, ah voi sareste - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Ah, quale incognito - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Dance Of The Furies - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Dance Of The Blessed Spirits - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Air - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Questo asilo di placide calme - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Che puro ciel! Che chiaro sol! - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Vieni ai regni del riposo - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Dance Of The Heroes - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: O voi, ombre felici - Rome Opera Orchestra And Chorus
Orfeo ed Euridice: Torna, o bella - Rome Opera Orchestra And Chorus

Tracks:

Orfeo ed Euridice: Ah, vieni Euridice - C.W. GLUCK VON
Orfeo ed Euridice: Vieni! Vien appaga - C.W. GLUCK VON
Orfeo ed Euridice: Qual vita e questa mai - C.W. GLUCK VON
Orfeo ed Euridice: Che fiero momento! - C.W. GLUCK VON
Orfeo ed Euridice: Avvezza al contento - C.W. GLUCK VON
Orfeo ed Euridice: Che fiero momento! - C.W. GLUCK VON
Orfeo ed Euridice: Ecco novel tormento! - C.W. GLUCK VON
Orfeo ed Euridice: Che faro senza Euridice? - C.W. GLUCK VON
Orfeo ed Euridice: Ah! Finisca e per sempre - C.W. GLUCK VON
Orfeo ed Euridice: Non Piu! Che fai? - C.W. GLUCK VON
Orfeo ed Euridice: Divo Amore, son tue pene - C.W. GLUCK VON
Orfeo ed Euridice: Gracieux - C.W. GLUCK VON
Orfeo ed Euridice: Gavotte - C.W. GLUCK VON
Orfeo ed Euridice: Air vif - C.W. GLUCK VON
Orfeo ed Euridice: Menuet - C.W. GLUCK VON
Orfeo ed Euridice: Maestoso - C.W. GLUCK VON
Orfeo ed Euridice: Tres Lentement - C.W. GLUCK VON
Orfeo ed Euridice: Chaconne - C.W. GLUCK VON
Orfeo ed Euridice: Trianfi Amore - C.W. GLUCK VON

Amazon.com

Orfeo ed Euridice, by Christoph Willibald Gluck (1714-1787), is one of the most enduring of 18th-century operas, and for all of the right reasons. Its story of the young Greek hero who pursues his lover into the Underworld has all the makings of great theater and music, and was a favored topic of opera from the start. But Gluck's handling of the material surrounds the story with luscious choral and solo lines that make for two hours of thoroughly entrancing music. This release is of the 1957 classic RCA Victor recording, which features Rise Stevens as Orfeo (following the tradition of Gluck's revised version for Paris, which scored the hero for female voice, instead of castrato) and Lisa Della Casa as Euridice, with Roberta Peters as Amore. This is a dazzling recording of the complete opera that easily matches anything on the market today (especially since both latter-day accounts by John Elliot Gardiner have gone out of print). Very highly recommended. --Paul Cook

Customer Reviews:

A Sparkling Performance.......2004-08-20

I first learned about this recording while reading "Everyone Is Someone" by Fifi Monteux. Gluck was a favorite composer of Pierre Monteux and it shows in this recording. In these days when period instrument performances of Orfeo ed Euridice abound it may be unseemly to go back to a recording with modern instruments. However, this recording perfectly captures the spirit of the opera and the singers take a backseat to nobody.

The soloists in this recording were favorites of Pierre Monteux: Rise Stevens (Orfeo), Lisa Della Casa (Euridice) and a very young Roberta Peters (Amour). The casting is superb and it is evident that each is singing at their best for the old maestro. Of particular interest is Orfeo's famous aria Che faro senza Euridice? Which is beautifully sung by Rise Stevens. The chorus is splendid but once or twice their singing was too much for the recording equipment and there is some slight distortion. Otherwise, this is a remarkable clear recording. The Dance of the Furies is played with real passion and drive, while the Dance of the Blessed Spirits is performed with just enough feeling so it does not become sugary sweet.

The recording dates to June 1957, and was performed at the Rome Opera House by the Rome Opera Orchestra and Chorus. In short, this is a recording that was lovingly made and should not be missed. The booklet has an interesting article about the history of the opera and the recording in English, German and French. The libretto is included in Italian and English with cues noted and there is a synopsis of the story.

Fine Orfeo.......2001-06-20

This set of Orfeo ed Euridice offers a lovely memento of Rise
Stevens even if she is a trifle past her best - she has a warm
and velvety voice but is a little unsteady at times - however
her undeniable artistry is still in evidence and she portrays
a vibrant Orfeo. Lisa della Casa is a radiant Euridice - her
crystalline voice at its most attractive. The very young Rober-
ta Peters is a delighful Amore singing with precision and musi-
cality. Chorus and orchestra are a bit rough for Gluck and Maes-
tro Monteux is occasionally sluggish in his tempos. Good early
stereo sound and including all the ballet music. A fine set.

AN UNDULY NEGLECTED COMPOSER.......2001-04-30

As with other composers, Christoph Willibald Gluck (1714-87) seems to be out of favor at the moment. Well, music like everything else, is cyclical and I have no doubt that opera-lovers who have recently discovered Handel, will soon move on to Gluck.

Based on the myth of Orpheus (sung by a mezzo soprano) and his beloved wife, Euridice, who has died before the curtain rises on Act 1. Orpheus makes a trip to Hades and is allowed to bring his wife back to Earth alive, as long as they do not look at each other during the long, difficult trip home and as long as Orpheus does not explain why to his wife. They make it back to Earth and their loving marriage is blessed by the goddess Amore. It's a simple story, with, granted, not much action. But the music: The music is magnificent.

Recorded in 1957, this set stars one of America's finest singers who is not nearly as well known as she should be. Rise Stevens was the finest 'Octavian' ("Der Rosenkavalier") and 'Carmen' and 'Orpheus' of her time. She was also very beautiful and even co-starred in a few movies, including the popular "Going My Way" with Bing Crosby. Her voice is near-perfect on these CD's and her dramatic ability obvious. Lisa Della Casa and Roberta Peters sing the two "female" roles wonderfully and the conductor is Pierre Monteux.

True, the sound could be more pristine but it is just fine, remastered in 2000. (The CD set starring a more recent 'Orpheus,' Marilyn Horne, who is brilliant in the role, with the redoubtable Sir Georg Solti as her conductor, were remastered with even worse results.) BMG should be commended for re-releasing this opera, which is obviously not a sure bet for platinum status. HIGHLY RECOMMENDED.

Juat 'cause I liked it.......2000-10-07

I personally don't think ANY complete recording of Gluck's "Orfeo" is as good, musically, as the Act 2 recorded by Nan Merriman and Arturo Toscanini in 1952. That performance struck the right balance of cohesive conducting, proper tempo relationships, deeply-felt emotion and expressive singing. Among the various later recordings, including the "live" Janet Baker-Raymond Leppard version that others seem to find so exciting, what I mostly hear is an outstanding Orfeo (Baker, Larmore, Tourangeau, Fischer-Dieskau, Horne) surrounded by inferior singers and either overdone (Solti) or underdone (Runnicles, Leppard, Richter) conducting.

This 1957 recording is conducted by Pierre Monteux (1875-1964), a past master at French music. Unfortunately, the operative word is "past." By 1957, Monteux's conducting had become somewhat erratic, slowing down romantic sections for emphasis rather than knitting the music together a la Toscanini. Nevertheless, his orchestral sound is warm and inviting, something that other conductors lack, and his pacing of the ballet music is without peer.

As for the singers, they are uniformly excellent. Rise Stevens was in many ways an overrated mezzo, but she studied Orfeo with Anna Eugenie Schon-René, who was herself a pupil of Pauline Viardot-Garcia, the great Orfeo of the 19th century. Because of this, Orfeo was Stevens' signature role, the one she sang best and which won her the most acclaim. On this recording her voice shows its usual plain tone, but she sings every word and phrase with evident knowledge and understanding, if not the lieder-singer's intimacy a la Baker. Her low range is especially well-recorded. Lisa Della Casa is the best Eurydice on records, period, and her duets with Stevens are pure heaven. Roberta Peters, here making a surprise appearance as Amor, likewise sings beautifully. Between the three of them and Monteux's conducting (occasionally slow, usually quite good), it adds up to a very satisfactory "Orfeo" to my ears.

Click on the excerpts and see what you think. I give it four stars because it held my interest from start to finish, and because it omits all spurious and added music not written by Gluck.

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