Gluck - Orphée et Eurydice / Original Version, Full / Remastered (Century’s recording: Hans Rosbaud)
Christoph Willibald Gluck (1714-1787) Orphée et Eurydice / Original Remastered Version.
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Click to activate the English subtitles for the presentation (00:00-01:30)
***Complete list of tracks on youtube music and the main streaming music platforms.***
00:00 Overture
03:11 Act 1: Ah, dans ce bois tranquille et sombre - Chœur des bergers et des nymphes, Orphée
07:41 Act 1: Pantomime des bergers et des nymphes
10:10 Act 1: Ah, dans ce bois lugubre et sombre - Chœur, Orphée
23:15 Act 1: Si les doux accords de ta lyre - L’Amour, Orphée
25:43 Act 1: Soumis au silence - L’Amour
29:56 Act 2: Quel est l’audacieux - Chœur des spectres et des furies
36:05 Act 2: Qui t’amène en ces lieux - Chœur
37:05 Act 2: Ah, la flamme qui me dévore - Orphée, Chœur
45:39 Act 2: Danses des Ombres heureuses, Lent et très doux
55:08 Act 2: Air avec chœur, Cet asile aimable et tranquille
58:38 Act 2: Quel nouveau ciel pare ces lieux! - Orphée
1:04:01 Act 2: Viens dans ce séjour paisible - Chœur
1:06:46 Act 2: Danse des Ombres heureuses
1:10:23 Act 2: Ô vous, ombres que j’implore“ - Orphée, chœur
1:18:39 Act 3: Viens, suis un époux qui t’adore - Orphée, Eurydice
1:31:46 Act 3: J’ai perdu mon Eurydice - Orphée
1:38:47 Act 3: Tendre amour - Eurydice, Orphée, l’Amour
1:42:30 Act 3: Ballet du Triomphe de l’Amour, Menuet, Dolce
1:51:53 Act 3: L’amour triomphe - Orphée, Chœur des Bergers et des Nymphes - l’Amour, Eurydice
***Complete list of tracks on youtube music and the main streaming music platforms.***
Orphée: Léopold Simoneau
Eurydice: Suzanne Danco
L’amour: Pierrette Alarie
Une Ombre heureuse: Suzanne Danco
Ensemble Vocal Roger Blanchard
Orchestre des Concerts Lamoureux
Conductor: Hans Rosbaud
Recorded in 1956, at Paris
New mastering in 2022 by AB for CMRR
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Christoph Willibald Gluck occupies an unassailable place in the history of music as one of the great “opera reformers.“ Here is an opera that can be classified at the same level as those of Mozart by its thematic and melodic richness. We are struck by the long orchestral passages that support and consolidate the dramatic framework. He strove to create a new and till then unknown kind of music-drama, in direct opposition to the two main currents in eighteenth-century music theatre — principally, the pandering to vocal virtuosity in opera seria which was rapidly reaching the stage when the singers’ skill was becoming an end in itself, but also the Singspiel movement with its banal plots and folk-like, strophic songs. In contradistinction to these, Gluck considered the real task of the music to be the outlining of the dramatic action. Every sentiment, every emotion, every turn in the plot must be mirrored in the music, must indeed be fully comprehensible only through the music. In the poet Ranieri de’ Calzabigi Gluck found a librettist who was to inspire and stimulate him, and whose librettos matched his own ideas perfectly.
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