- Audio CD (Mar 17 2008)
- SPARS Code: DDD
- Number of Discs: 2
- Label: Decca
- ASIN: B000004CYW
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
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Amazon Bestsellers Rank:
#99,944 in Music (See Top 100 in Music)
- #28 in Music > Opera & Vocal > Divas > Bartoli, Cecilia
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Product Details |
Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. Orfeo ed Euridice: Ouverture | |||
| 2. Orfeo ed Euridice: Atto Primo : Sventurata, che fo? (Euridice) | |||
| 3. Orfeo ed Euridice: Atto Primo : Ferma, ferma il piede, o principessa! | |||
| 4. Orfeo ed Euridice: Atto Primo : Che chiedete da me? (Euridice) | |||
| 5. Orfeo ed Euridice: Atto Primo : Filomena abbandonata (Euridice) | |||
| 6. Orfeo ed Euridice: Atto Primo : Cieli! Soccorso! Aita! | |||
| 7. Orfeo ed Euridice: Atto Primo : Rendete a questo seno (Orfeo) | |||
| 8. Orfeo ed Euridice: Atto Primo : Cara speme! Alme di scoglio! (Orfeo) | |||
| 9. Orfeo ed Euridice: Atto Primo : Oh prodigio, oh stupor | |||
| 10. Orfeo ed Euridice: Atto Primo : O poter dell'armonia! | |||
See all 26 tracks on this disc
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| Disc: 2 | |||
| 1. Orfeo ed Euridice: Atto Terzo : Ah, sposo infelice! | |||
| 2. Orfeo ed Euridice: Atto Terzo : Al cielo te ne voli (Orfeo) | |||
| 3. Orfeo ed Euridice: Atto Terzo : Ah, sposo infelice! | |||
| 4. Orfeo ed Euridice: Atto Terzo : Che sarà mai d'Orfeo? (Creonte) | |||
| 5. Orfeo ed Euridice: Atto Terzo : Chi spira e non spera (Creonte) | |||
| 6. Orfeo ed Euridice: Atto Terzo : Venerata Sibilla (Orfeo) | |||
| 7. Orfeo ed Euridice: Atto Terzo : Al tuo seno fortunato | |||
| 8. Orfeo ed Euridice: Atto Terzo : Costanza a me si chiede? (Orfeo) | |||
| 9. Orfeo ed Euridice: Atto Terzo : La giustizia in cor regina | |||
| 10. Orfeo ed Euridice: Atto Quarto : Infelici ombre dolenti | |||
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See all 27 tracks on this disc
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Product Description
Amazon.com essential recording
A surprising fact from the musicological realm is that Haydn wrote about the same number of operas as Mozart--though it's true that some of them were written for the marionette theater at Esterhaza, rather than the opera house. In other words, old "Gius[eppe] Haydn"--as the title page of this opera refers to him--was a master. Better known to some by its alternate title, L'anima del filosofo, Haydn's Orfeo ed Euridice was written in 1791 for the King's Theater, Haymarket, during the composer's first English sojourn, but went unperformed there or anywhere else until 1950. The libretto, by Carlo Francesco Badini, is based on Ovid's Metamorphoses, with its decidedly unhappy ending to the story (Euridice dies a second time, Orpheus is poisoned, and the Bacchantes perish in a storm). While the score as a whole does not possess the kind of momentum or dramatic sweep one finds in Mozart, it nonetheless is vintage Haydn: highly imaginative in its use of a large orchestra, with numerous fine choruses and beautiful arias. A strong cast has been assembled for this recording, with Cecilia Bartoli a special delight in two roles--Euridice, a lyric role requiring remarkable agility, and the Genio (or Sybill), originally written for a castrato, whose one aria ("Al tuo seno fortunato") is a coloratura tour de force. The score is played with marvelous fluency by the Academy of Ancient Music under the direction of Christopher Hogwood, contributing to a realization that is, in every respect, elegantly informed. --Ted Libbey
Chronique amazon.fr
Le mythe d'Orphée n'a cessé d'inspirer les musiciens, depuis la naissance de l'opéra, avec Euridice de Peri et L'Orfeo de Monteverdi. L'ouvrage le plus connu sur ce thème reste sans doute celui de Gluck (1762). En 1791, année de la mort de Mozart, Joseph Haydn, libéré de sa tâche auprès du prince Esterhazy, est sollicité pour composer un opéra, à partir d'un Orfeo rédigé par Carlo Francesco Badini. Le King's Theatre de Londres, n'ayant pas reçu l'autorisation de reprendre ses activités, l'oeuvre de Haydn est remisée dans les tiroirs et y restera jusqu'à sa résurrection, en 1951, à Florence, avec Maria Callas dans le rôle d'Euridice. Le chef Christopher Hogwood réhabilite à son tour cet authentique chef-d'oeuvre, avec panache. Direction d'une grande intensité dramatique et distribution irréprochable dominée par l'extraordinaire Cecilia Bartoli. Le rôle d'Euridice est plus développé que dans l'Orfeo de Gluck : deux airs qui alternent vocalises, ornementations et lyrisme douloureux. La Romaine a tenu aussi à chanter le personnage du Génie, qui conduit Orphée aux Enfers, prétexte à une époustouflante pièce de bravoure vocale. Également magnifiques : les choeurs qui commentent l'action, avant d'en devenir le protagoniste principal au dernier acte. --Franck Erikson
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Customer Reviews
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Most helpful customer reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars
Haydn's "Orfeo ed Euridice" worth discovering,
By "daniel0302" (New York, NY United States) - See all my reviews
This review is from: Orfeo et Euridice (Audio CD)
Although Haydn's "Orfeo ed Euridice" has been recorded a few times before, it is still a relatively obscure opera. It is easy to hear the music's roots in Gluck (and the possible influences of contemporaries such as Mozart and Cimarosa) but Haydn's music has a distinct voice, and is quite lovely - at times delightful, and at times tragic. This is an opera well worth discovering by anyone interested in music from the baroque and classical periods.Both Cecilia Bartoli and Uwe Heilmann are fantastic. Bartoli's versatility as an artist is well displayed in this recording; she sings both treble lead roles. Euridice was writen for a lyric soprano, and the role of the Genio, with its showstopper coloratura aria, was written for a male castrato. Bartoli skillfully uses two different vocal colors - warm and rich for Euridice, bright and shimmery for the Genio - and she gives much pleasure in her performance of both roles, and utilizes a remarkable range. Heilmann's reedy voice is perfectly suited to the music, and he captures the idealism, pathos, and tragedy of the character. He sings with lovely tone, and tasteful and intelligent musicianship, and is often genuinely touching. The young bass Ildebrando d'Arcangelo sings beautifully as well, skillfully using his warm and rich yet flexible voice in his two scenes. Christopher Hogwood is at home in this music and leads The Academy of Ancient Music in a sparkling playing of the score. This recording outclasses the previous recordings despite their strengths. An excellent addition to any library, this recording is essential for fans of Haydn, Bartoli, or Heilmann,
Share your thoughts with other customers: Create your own review
Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
4.5 out of 5 stars (2 customer reviews) 35 of 37 people found the following review helpful
5.0 out of 5 stars
Haydn's "Orfeo ed Euridice" worth discovering,
By "daniel0302" - Published on Amazon.com
This review is from: Orfeo et Euridice (Audio CD)
Although Haydn's "Orfeo ed Euridice" has been recorded a few times before, it is still a relatively obscure opera. It is easy to hear the music's roots in Gluck (and the possible influences of contemporaries such as Mozart and Cimarosa) but Haydn's music has a distinct voice, and is quite lovely - at times delightful, and at times tragic. This is an opera well worth discovering by anyone interested in music from the baroque and classical periods.Both Cecilia Bartoli and Uwe Heilmann are fantastic. Bartoli's versatility as an artist is well displayed in this recording; she sings both treble lead roles. Euridice was writen for a lyric soprano, and the role of the Genio, with its showstopper coloratura aria, was written for a male castrato. Bartoli skillfully uses two different vocal colors - warm and rich for Euridice, bright and shimmery for the Genio - and she gives much pleasure in her performance of both roles, and utilizes a remarkable range. Heilmann's reedy voice is perfectly suited to the music, and he captures the idealism, pathos, and tragedy of the character. He sings with lovely tone, and tasteful and intelligent musicianship, and is often genuinely touching. The young bass Ildebrando d'Arcangelo sings beautifully as well, skillfully using his warm and rich yet flexible voice in his two scenes. Christopher Hogwood is at home in this music and leads The Academy of Ancient Music in a sparkling playing of the score. This recording outclasses the previous recordings despite their strengths. An excellent addition to any library, this recording is essential for fans of Haydn, Bartoli, or Heilmann, 5 of 21 people found the following review helpful
4.0 out of 5 stars
wow,
By Amin_harpsichord - Published on Amazon.com
This review is from: Orfeo et Euridice (Audio CD)
i think hogwood and haydn. these two words are enough.but i love Dorati`s more than this recording. |
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