3 immortal pieces from Gluck’s opera ORFEO ED EURIDICE – the best interpretations in YouTube

3 immortal pieces from Gluck’s opera ORFEO ED EURIDICE – the best interpretations in YouTube (Hits, Best of)

Orfeo is the oldest opera in the repertoire without interruption and one of the most influential works in the history of opera. The work contains great catchy tunes, and with “che faro senza Euridice” Gluck succeeded in creating the first mega-hit in the history of opera.

<!–more–>

&nbsp;

&nbsp;

&nbsp;

&nbsp;

&nbsp;

<h2><strong>The grand bravura aria</strong></h2>

This aria is a classic bravura aria. Actually, it would have no place in this reform opera, but probably Gluck wanted to grant the aria to the first Orphée, Joseph Legros, a classical coloratura aria with long coloratura runs and coloratura cadence.

Berlioz wanted to throw this aria out of his version because he was convinced that it had not been written by Gluck himself, but by Bertoni (though this is no longer suspected nowadays). The great cadenza at the end of the aria was created by Pauline Viardot with the help of Berlioz and Saint-Saens.

<strong>Amour, viens rendre à mon ame – Verrett</strong>

&nbsp;

&nbsp;

&nbsp;

&nbsp;

&nbsp;

<h2><strong>The famous ballet in the Champs Elysées</strong></h2>

This ballet-pantomime became famous not least because of the singing of the solo flute.

<strong>Ballet des ombres heureuses</strong>

&nbsp;

&nbsp;

&nbsp;

&nbsp;

&nbsp;

<h2><strong>The famous aria “che faro senza Euridice”</strong></h2>

Gluck’s piece for Euridice became one of the most famous arias ever, and one can find in the discography countless recordings by singers of the most diverse vocal ranges. Because Gluck wrote a version for Vienna as well as for Paris, there is a French version (“J’ai perdu mon Euridice”) as well as an Italian version (“Che faro senza Euridice”). Gluck wrote this lament in a major key, although the piece describes Euridice’s despair over Orfeo’s supposed coldness. Hanslick, the famous 19th century critic, thought that with the music of this aria, instead of “J’ai perdu mon Euridice” one could just as well have used the line “J’ai trouvé mon Euridice”.

But Gluck’s choice of key was deliberate. The mourning was to be achieved with the simplicity of the aria and the orchestral accompaniment; only briefly does the key turn to the minor. Contrary to the conventions of opera seria, the reformist Gluck wanted to eliminate all artificial ornamentation by the singers and deliberately avoided ornamentation. This aspect (see also the interpretations below) led to the discussion whether ornamentation is allowed at all in this aria. However, the effect Gluck made with this aria is terrific, contemporaries like Rousseau were thrilled and the aria became perhaps the first super-hit in opera history.

For many contemporaries, the expression and warmth of Kathleen Ferrier’s voice was unique. Bruno Walter, a close companion of her brief career, wrote after her untimely death that she was, along with Gustav Mahler, the greatest personal acquaintance in his musical life. Kathleen Ferrier died of breast cancer in 1951 at the age of 41. She had just finished rehearsing Orfeo. Listen to the interpretation of a live radio recording, it is a glorious document of her voice which soul-stirring warmth, expressive vibrato and ethereal pianissimi captivate the listener.

<strong>Che faro senza Euridice – Ferrier</strong>

&nbsp;