Search - Christoph Willibald Gluck, Ryan Brown, Opera Lafayette :: Gluck - Orphée et Euridice (1774 Paris Version)

A New Recording of Gluck's Orphee et Euridice

Robin Friedman | Washington, D.C. United States | 03/28/2005

(5 out of 5 stars)

"I was excited when I learned that Naxos was about to release a new CD of Gluck's Orphee et Euridice performed by the Opera Lafeyette Opera and Chorus. Gluck's opera is one of my longest-lived musical passions. I had the good fortune to hear the Opera Lafayette perform this opera live at the Clarice Smith Center for the Performing Arts at the University of Maryland. (The performance was a sell-out and I was lucky to get makeshift seating above and behind the stage.) It is a rare pleasure to hear on CD a memorable performance that one has experienced live of a treasured work.



There are several versions of Gluck's Orphee. Gluck composed the first version in Vienna in 1762 in Italian. He wrote the second version twelve years later in 1774 in Paris. This French version is rather more lyrical and florid that the initial version and represents something of a compromise of the spirit of opera reform shown in the 1762 score. The version of the opera most commonly performed today is an amalgamation of Gluck's two scores based on edits by Hector Berlioz in 1859.



Happily, this CD uses Gluck's 1774 Paris version which is rarely performed today. In the 1774 opera, the role of Orphee is sung by a high tenor, and the role is beautifully performed here by Jean-Paul Fouchecourt, an eminent singer of early music. The Paris version includes the famous ballet, "The Dance of the Blessed Spirits" which was not included in 1762, together with additional arias, and certain display passages in some of the vocal writing absent from the earlier Orpheo. There is a recording of the inital 1762 version of this opera also available on Naxos with the Drottingholm Theatre Chorus and Orchestra conducted by Arnold Ostman, thus giving the interested listener an opportunity to compare Gluck's initial score with the revisions he made later for the Paris Opera.



The Opera Lafeyette is a period instrument ensemble, and its perfomance of Orphee was its first venture in early opera. The orchestra plays with vigor and force. The overture is taken slightly slower than usual, and the winds and tympani receive great emphasis, as is also the case in the final chorus. The choral singing in the work is an inspiration, particularly in the opening scene of the opera. Fouchecourt's high tenor does best in the showy aria, "L'espoir remait dans mon ame" with which the first act concludes and in the famous "J'ai perdu mon Euridice" in which Orpheus laments the loss of his love and which is the highlight of any performance of this opera. The soprano Suzie Le Blanc has a light, lucid voice is Amor and soprano Catherine Dubose is an effective Euridice.



The opera itself tells the timeless story of how love and art can help bring meaning to life. We can understand Gluck turning from the tragedy of the classical story to bring his opera to a joyful ending. Gluck's music in this Paris version is less austure than in his 1762 score. It still combines the combination of passion and rationalism that was Gluck's gift to music.



This CD is essential for listeners that love Gluck's music. At a budget price and packaged with full libretto and notes, it should encourage many listeners to get to know the work of this great composer."

Wonderful recording of a classic opera

Kelly S | USA | 01/05/2007

(5 out of 5 stars)

"This is a perfect recording of Gluck's best-known opera, and you would be wise to purchase it. Here's why:



- Original French translation. The Paris version that debuted on August 2, 1774, which NAXOS has recreated on this cd, was translated into French by Gluck himself (the original Italian version, Orfeo ed Euridice, debuted in Vienna in 1762). The composer then added the finishing touches of a few beautiful ballet numbers and a re-working of the recitatives, performed here with great emotion and strength. He also allowed for this version's Orphée to be sung by a haute-contre, rather than an alto-castrato, which seem to be in low supply these days.



- A man singing Orphée. Even the most talented female alto isn't as effective playing a male lead as is an actual male. This Orphée, Fouchécourt, is wonderful.



- period instruments. You're hearing as close to what the Paris audience heard in 1774 as you'll find in the 21st century. Great brass section especially, very dramatic. Also the chorus does a splendid job complementing the music and vice versa; each is subtle and forceful in exactly the right places, creating a moving effect.



- full libretto in French and English



- great low price



Overall, this is a great buy, and I recommend it to anyone at any level of opera-appreciation.



Note: The reason there are only 10 tracks is that each track is quite lengthy--in one instance, 20 minutes. The full opera is present."

A formidable contender for the best Orphée on CD.

Steven Guy | Croydon, South Australia | 08/20/2005

(5 out of 5 stars)

"I bought the Marc Minkowski / Les Musiciens du Louvre recording of Gluck's Paris version of his Orpheus opera on the ARCHIV label last year. I liked that recording and I was quite impressed with the tenor, Richard Croft, in the rôle of Orphée. Minkowski's choir and orchestra are second to none in the milieu of the interpretation and recording of French 18th century opera.



However, NAXOS has recently brought out a new recording of this same version of the opera and it has a lot going for it! Firstly, Jean-Paul Fouchécourt, who is a great singer and a wonderful interpreter of haute-contre rôles. His voice is much smoother and sweeter than Croft's brighter and more "edgy" voice. Fouchécourt gives Orphée a very beautiful and noble voice and he sings with great poise, grace and pathos throughout.

The two ladies are both excellent, too. I knew Suzie Le Blanc from some of her other recordings of Baroque music and I think she makes an excellent Amour. Her voice is more "adult" than Minkowski's teenage Marion Harousseau, but I have to say that I cannot make up my mind which singer I prefer. Both bring many nice things to this role. Minkowski has a powerful advocate of Baroque music in Mireille Delunsch as his Eurydice, but Catherine Dubosc is no less capable in the role and I loved her singing.

Ryan Brown directs the Opera Lafayette Orchestra (on period instruments) and Chorus. This band brings the music to life in ways that I really found (agreeably) startling from time to time. The brass players, in particular, bring great drama to the music - especially in Acte II - listen for the natural trumpets ring out in the Maestoso section. The famous Ballet des Ombres Heureuses is performed in a tempo ever-so-slightly faster than I am used to - and it works extremely well. I really got the feeling that this was indeed a 'dance' - for the Blessed Spirits.

I hope Opera Lafayette makes many more recordings of French Baroque operas for NAXOS. A NAXOS Hippolyte et Aricie (by Rameau) would be nice - I read that Opera Lafayette recently performed this work. However, I would buy any recording made by this ensemble.



This cheap and readily available recording of Gluck's Paris version of his masterpiece deserves a place in every music lovers' collection - even if you already have the Minkowski / Les Musiciens du Louvre ARCHIV recording of this work."