Christoph Willibald von Gluck (1714-1787) Act II Orfeo ed Euridice (Live recording of the 1762 Vienna Version) 16 Ballo 1. 16 17 Chi mai dell’ Erebo (Coro) 0. 26 18 Ballo 0. 45 19 Chi mai dell’ Erebo (Coro) 1. 01 1 Overture 3. 10 20 Ballo 1. 12 21 Deh! placatevi con me (Orfeo/Coro) 2. 19 Act I 22 Misero giovane! (Coro) 0. 56 2 Ah! se intorno a quest’urna funesta (Coro) 2. 29 23 Mille pene (Orfeo) 0. 46 3 Basta, basta, o compagni (Orfeo) 0. 49 24 Ah, quale incognito affetto flebile (Coro) 0. 43 4 Ballo. Larghetto 2. 11 25 Men tiranne, ah! voi sareste (Orfeo) 0. 39 5 Ah! se intorno a quest’urna funesta (Coro) 1. 53 26 Ah, quale incognito affetto flebile (Coro) 1. 20 6 Chiamo il mio ben così (Orfeo) 1. 11 27 Ballo 1. 59 7 Euridice! (Orfeo) 1. 10 28 Ballo 3. 43 8 Cerco il mio ben così (Orfeo) 1. 13 29 Che puro ciel (Orfeo/Coro) 4. 59 9 Euridice! (Orfeo) 1. 10 30 Vieni a’regni del riposo (Coro) 1. 16 10 Piango il mio ben così (Orfeo) 1. 08 31 Ballo 2. 27 11 Numi! barbari numi! (Orfeo) 0. 52 32 Anime avventurose (Orfeo/Coro) 0. 41 12 T’assiste Amore (Amore/Orfeo) 1. 49 33 Torna, o bella, al tuo consorte (Coro) 1. 18 13 Gli sguardi trattieni (Amore) 2. 42 14. Che disse! che ascoltai! (Orfeo) 1. 46 Act III 15 Presto 0. 38 34 Vieni: segui i miei passi (Orfeo/Euridice) 6. 00 35 Vieni: appaga il tuo consorte (Orfeo/Euridice) 2. 56 36 Qual vita è questa mai (Euridice) 2. 02 37 Che fiero momento! (Euridice) 2. 55 38 Ecco un nuovo tormento! (Orfeo/Euridice) 2. 28 Gluck – Orfeo ed Euridice opera seria: this was the conventional 39 Ahimè! dove trascorsi! (Orfeo) 1. 11 style of operas by composers such as 40 Che farò senza Euridice! 3. 42 The myth of Orpheus and Eurydice is Handel, Vivaldi and Pergolesi, dictated to 41 Ma finisca, e per sempre, co’ la vita il dolor! (Orfeo) 1. 11 woven into the history of opera. Its story a great extent by the librettos written by 42 Orfeo, che fai? (Amore/Orfeo) 1. 53 of the power of love and music over the Metastasio, using a formulaic pattern of 43 Scena ultima: Ballo – Trionfi Amore (Orfeo/Coro/Amore/Euridice) 11. 58 inevitability of death inspired the earliest recitative interspersed with da capo arias. operatic experiments in the late 16th Durazzo’s plan involved reconciling the Total playing time: 88. 37 century, and produced the genre’s first schools of Italian and French music. The masterpiece, Monteverdi’s Orfeo of 1607. heavy French influence on Gluck’s Orfeo Iestyn Davies, countertenor (Orfeo) It has recurred in further musical versions shows; Gluck is in many ways the successor Sophie Bevan, soprano (Eurydice) by Luigi Rossi, Charpentier, Haydn, Krenek, to Lully and Rameau. Rebecca Bottone, soprano (Amor) Birtwistle and others. Each operatic version reveals something of the ideals Durazzo had in 1760 already brought La Nuova Musica and aesthetics of its composer’s period: together several artists sympathetic to his Conducted by David Bates some culminate in tragedy, others with a reformist ideas: besides the composer Gluck happy ending; some focus on one character there was the choreographer Gasparo rather than another; some have only three Angiolini, the set designer Giovanni Maria principal roles, while others feature more Quaglio and the writer Ranieri de’ Calzabigi. than a dozen. Together they created Don Juan, a ‘balletpantomime’ notable for its dramatic Gluck’s Orfeo came about thanks to a coherence and its revival of what was happy meeting of artistic collaborators in believed to be “le goût des Anciens”. Vienna in the early 1760s. Count Giacomo Durazzo, the impresario of the city’s Opera had always sought to revive the Burgtheater, had a mind to modernise art of the ancients — this had been the 4 5 stimulus behind the earliest experiments The artistic team behind the new Orfeo in the genre around 1600. But now, after was armed in various ways for the task of excavations of the ruins of the cities of reforming opera: the librettist Calzabigi Pompeii and Herculaneum had begun in was an expert on the works of Metastasio, earnest during the 1730s and 1740s, the having produced a complete edition of resurgence of interest in the classical world his libretti during the 1750s, but viewed had a different slant. The archaeologist the older man’s work with a critical eye Johann Joachim Winckelmann, a and saw how it could be adapted using contemporary of Gluck, published his knowledge of French operatic style. Gluck’s ‘Thoughts on the Imitation of Greek Works’ music reflects this: the opera combines in 1755: “the one way for us to become arias, duets, dances and numerous chorus great, perhaps inimitable, is by imitating numbers in a way that is infinitely more the ancients”. Gluck similarly sought to fluid than the strict pattern of alternating return to ancient, uncorrupted ways, secco (unaccompanied) recitatives and rescuing opera seria from “abuses…which arias that prevailed in opera seria. And a have too long disfigured Italian opera”. significant addition to the team was the In fact, the phrase Winckelmann used castrato singer Gaetano Guadagni – the to describe the ideals he deemed worth primo uomo of operas and oratorios by imitating in Greek art – “a noble simplicity Handel and others. His interpretation of the and a calm grandeur” – became a motto role of Orfeo was informed by the training for the age, and was paraphrased by Gluck he received in London from the celebrated in his writings on music. It is perhaps our Shakespearean actor David Garrick, who key to understanding a piece such as Orfeo promoted realistic acting, rather than the ed Euridice. bombastic style which dominated the stage in the first half of the 18th century. Together David Bates © Andy6 Staples 7 with the new, narrative choreography of harpsichord continuo. Orfeo’s first Angiolini (perhaps influenced by his French aria, Chiamo il mio ben così, is not the contemporary Noverre) and the set designs traditional da capo aria of opera seria of Quaglio, the creative team was to set but a rondeau – a form, used throughout new standards for musical drama. the opera, that alternates lyrical refrains with sections of more direct dramatic After a buoyant overture, we are plunged expression. into a scene of lamentation at the death of Euridice; this opening scene is reminiscent The aria culminates in a dramatic recitative of the scene of mourning which opens Numi! Barbari Numi as Orfeo vows to Rameau’s Castor et Pollux, one of the rescue his bride from the underworld. He most popular operas in France at the is interrupted by a character familiar from time. The sound of the cornett (frequently almost every French opera of the period: used in Viennese churches during the 18th Amore, or Cupid, who offers help to our century) is a coincidental reminder of hero in a coquettish triple-time aria, Gli the instruments that had accompanied sguardi trattieni. Monteverdi’s Orfeo 150 years before. Act II opens with a dance and chorus for Above the chorus, Orfeo can be heard furies and spectres in the underworld. crying out the single word “Euridice”, in Their threatening chanting is juxtaposed an arresting departure from the formal magically with the sound of the harp, utterances of Italian opera seria. This is evoking Orfeo’s lyre. Again, Gluck is followed by a recitative, but this too is attempting dramatic and structural surprising: the Italian text is accompanied devices utterly foreign to opera seria. Just by the orchestra, not just the customary as the opera’s opening chorus had been Iestyn Davies 8 9 © Chris Sorensen punctuated by Orfeo’s dramatic cries of il tuo consorte), Euridice exclaims to Orfeo “Euridice“, so here Orfeo’s plaintive pleas that she would rather stay dead, than live for leniency are interrupted by violent with her apparently unfeeling husband. Her “No’s” from the chorus as they refuse to aria which follows (Che fiero momento)is cooperate. one of rage.

Finally, however, the gentle plucking of The tension mounts in the succeeding the harp makes the furies relent, and recitative to the story’s dramatic climax – by the second scene of Act II, Orfeo the moment where Orfeo turns to look at has been admitted to the Elysian fields, Euridice. Unlike Monteverdi’s version, where where he finds himself surrounded by a Orfeo acts on romantic impulse alone, dancing ‘chorus of heroes and heroines’; Gluck’s protagonist here is responding to one can imagine Angiolini’s new style of something deeper, more empathetic: a dramatically expressive choreography set in desire to assuage his lover’s insecurities, the Quaglio’s Arcadian stage designs. even if it means he will lose her once more. Monteverdi’s Orfeo had been condemned The chorus finally ushers in Euridice, by the chorus for his weakness. In contrast, ready to be led back to the world above. Gluck’s Orfeo responds to his wife’s In Gluck’s characterisation, Euridice bewilderment with strength of character reveals a far more feisty personality than and stoic resolution: it is, in fact, an act of in Monteverdi’s opera. Indeed, Cupid’s noble self-sacrifice typical of Metastasian injunction that Orfeo may neither look at opera seria. his wife nor explain to her the reason why he may not, leads to a fully-fledged lover’s Orfeo’s famous aria, Che farò senza tiff. During a vigorous duet Vieni,( appaga Euridice, is perhaps the epitome of the 10 Rebecca Bottone 11 ‘bella semplicità’ (beautiful simplicity) purity of classical sculpture was a fallacy: advocated by Gluck and Calzabigi. Here, we now know that the Athenian Parthenon there are no Metastasian similes, no would have been covered in colourful paint. extravagant roulades, and no opportunities Similarly, Gluck’s and Calzabigi’s vision for wild cadenzas by the soloist. Instead, of the antique world was inescapably a Gluck employs the simple rondeau form, product of the beliefs and constraints of and the purity of diatonic C major. their own time.

Orfeo is saved from suicide only by Amore, The dramatic and musical innovations who rewards him for his devotion by in Orfeo ed Euridice had powerful reuniting him with Euridice (understandably repercussions: before the end of 18th bewildered to find herself alive for a third century, it had been seen all over Europe, time). The shepherds and shepherdesses from St Petersburg to Stockholm, from who had lamented at the very start now Barcelona to Dublin. Gluck capitalised on return, dancing and singing in praise of the work’s French features by making a Love. This deus ex machina happy ending French-language version for Paris in 1774. would have been expected by Gluck’s 18th century audience, who would otherwise The opera made a first appearance in be disturbed by the moral implications of London as early as 1770, featuring once undeserved suffering: a divergence from more Guadagni in the title role; but classical tragedy, which had no qualms this production proved to be the first of about horrifically tragic endings. numerous bowdlerisations of the piece: extra music by other composers was added; Ironically enough, the archaeologist and over the years new characters were Winckelmann’s admiration of the white introduced, choruses were cut and in 1792 a Sophie Bevan © Sussie12 Ahlburg 13 version was performed at the Theatre Royal, Covent Garden, where virtually the only part of the original score that survived — amid music by Handel, Bach and Sacchini — was Orpheus’s famous ‘Che farò’.

This recording is almost completely true to the original 1762 performance. Only one addition has been made: an exquisite evocation of the Elysian Fields taken from Gluck’s Paris version, for solo flute and strings.

James Halliday

14 © Nick Rutter15 Christoph Willibald Gluck fra queste ombre funebri ed oscure among these dark and mournful shades Orfeo ed Euridice (1762 Vienna Version) coll’empia compagnia di mie sventure. with the pitiless company of my Libretto by Ranieri de’ Calzabigi misfortunes. 4 Atto Primo, Scena Prima Act One, Scene One Larghetto Larghetto 1 5 Sinfonia Overture Coro Chorus 2 Ah! se intorno a quest’urna funesta Ah! If around this funeral urn, Coro Chorus Euridice, ombra bella, t’aggiri, Eurydice, sweet spirit, you hover, Ah! se intorno a quest’urna funesta, Ah! If around this funeral urn, odi i pianti, i lamenti, i sospiri, hear the plaints, the laments, the sighs Euridice, ombra bella t’aggiri, Eurydice, sweet spirit, you hover, che dolenti si spargon per te. which we mourners utter for you. odi i pianti, i lamenti, i sospiri Hear the plaints, the laments, the sighs 6 che dolenti si spargon per te. which we mourners utter for you. Orfeo Orpheus Ed ascolta il tuo sposo infelice, And hearken to your unhappy husband, Chiamo il mio ben così Thus do I call my love che piangendo ti chiama, e si lagna, who, weeping, calls you and makes moan. quando si mostra il dì, when day shows itself come quando la dolce compagna As when the amorous dove quando s’asconde. and when it disappears. tortorella amorosa perdé. loses her dear companion. Ma, oh vano mio dolor! But ah! vain is my grief! 3 l’idolo del mio cor The idol of my heart Orfeo Orpheus non mi risponde. does not reply. Basta, basta, o compagni: Enough, enough, my friends! 7 il vostro lutto aggrava il mio. Your grief increases my own! Euridice! Euridice! Eurydice, Eurydice, Spargete purpurei fiori, Scatter purple flowers, Ombra cara, ove sei? beloved shade, where are you? inghirlandate il marmo, place garlands on her tomb, Piange il tuo sposo, Your husband weeps, partitevi da me: and leave me! ti domanda agli dèi, begs the gods for you restar vogl’io solo I would remain alone a’ mortali ti chiede e sparse a’ venti and asks for you among mortals, 16 17 son le lagrime sue, i suoi lamenti. yet scattered to the wind are his tears and 11 his laments. Numi! barbari numi! Oh gods, cruel gods! 8 D’Acheronte e d’Averno pallidi abitator, You, the pale inhabitant of Acheron and Cerco il mio ben così Thus do I seek my love la di cui mano avida delle morti mai Avernus, in queste, ove morì, on these sad shores disarmò, mai trattener non seppe whose greedy hand was never stayed funeste sponde. where she died. beltà né gioventù, by beauty or youth, Ma sola al mio dolor, But to my grief voi mi rapiste la mia bella Euridice nor could keep it from death, perché conobbe amor, echo alone replies, Oh memoria crudel! you stole from me my lovely Eurydice? l’eco risponde. since it knew our love. sul fior degli anni: Oh cruel memory! ? 9 La rivoglio da voi, numi tiranni. in the flower of her life. Euridice! Euridice! Ah, questo nome Eurydice, Eurydice! Ah, that name Ho core anch’io per ricercar sull’orme I want her back from you, tyrannous gods! san le spiagge, e le selve the seashore knows, and the woods dei più intrepidi eroi, nel vostro orrore, I too have the courage, in the footsteps l’appresero da me. learnt from me! la mia sposa, il mio ben... of the most intrepid heroes, Per ogni valle Euridice risuona; In every valley Eurydice resounds: to search for my wife, my loved one, in your in ogni tronco scrisse il misero Orfeo, on every tree the wretched Orpheus has horror. Orfeo infelice, written: Euridice, idol mio, cara Euridice. Unhappy Orpheus, Eurydice, my love, dear Eurydice. Scena Seconda Scene Two 10 12 Piango il mio ben così, Thus do I mourn my love, Amore Love se il sole indora il dì, whether the sun gilds the day T’assiste Amore. Love will assist you! se va nell’onde. or sinks into the waves. Orfeo, della tua pena Giove sente pietà. Orpheus, Jupiter has taken pity on your Pietoso al pianto mio The brook, taking pity on my plaints, Ti si concede le pigre onde grief. va mormorando il rio goes murmuring by di Lete vivo varcar. It is granted you to pass e mi risponde. and answers me. Del tenebroso abisso sei sulla via: the sluggish waters of Lethe alive! 18 19 se placar puoi col canto le furie, Go on your way to the shadowy abyss: Amore Love i mostri e l’empia morte, al giorno if with your singing you can placate the Furies, Euridiceti si vieta il mirar, finché non sei Forbidden is the sight of Eurydice la diletta Euridice the monsters, and pitiless death, fuor dagli antri di Stige, until you are beyond the caves of the Styx! farà teco ritorno... you can take back your beloved Eurydice e il gran divieto rivelarle non déi; And of this great prohibition you must not with you into the light of day... se no, la perdi,e di novo, e per sempre; tell her! e in abbandono al tuo fiero desio Otherwise, you lose her again, and for ever; Orfeo Orpheus sventurato vivrai. and you will live unhappy, a prey to your Ah come! Ah quando! But how? and when? Pensaci; addio. fierce desire! E possibil sarà?... spiegati. Can this be possible? ...Explain. Think on this: farewell. 13 Amore Love Gli sguardi trattieni, Restrain your glances, Avrai valor che basti a questa prova Have you courage enough for this extreme affrena gli accenti; refrain from words: estrema? trial? rammenta se peni, recall, if you suffer, che pochi momenti that you have to suffer Orfeo Orpheus hai più da penar. but a few moments more! Mi prometti Euridice, You promise me Eurydice, Sai pur che talora Do you not know e vuoi che io tema! and you think I could be afraid! confusi, tremanti that sometimes lovers, con chi gl’innamora confused and trembling, Amore Love son ciechi gli amanti, are blind to those they love, Sai però con qual patto l’imprese hai da Then know on what conditions you must non sanno parlar? and cannot speak? compir? complete the task? 14 Orfeo Orpheus Orfeo Orpheus Parla. Speak! Che disse! che ascoltai! What said he? What did I hear? Dunque Euridice That Eurydice will live 20 21 vivrà, l’avrò presente, and I shall have her here? Atto Secondo, Scena Prima Act Two, Scene One e dopo i tanti affanni miei, And after all my torments, 16 in quel momento, in that moment, Ballo Ballet in quella guerra d’affetti, torn by emotions, 17 io non dovrò mirarla, I must not look at her, Coro Chorus non stringerla al mio sen! not clasp her to my bosom! Chi mai dell’Erebo Who is this Sposa infelice! Unhappy wife! fra le caligini, who draws near to us che dirà mai? What will she say? sull’orme d’Ercole through the gloom of Erebus che penserà? What will she think? e di Piritoo in the footsteps of Hercules conduce il piè? and of Pirithous? Preveggo le smanie sue, I foresee her impatience: D’orror l’ingombrino May the savage Eumenides comprendo le angustie mie. I understand my anguish. le fiere Eumenidi, overwhelm him with horror, Nel figurarlo solo At the mere thought e lo spaventino and the howls of Cerberus sento gelarmi il sangue, I feel my blood congeal, gli urli di Cerbero, terrify him tremarmi il cor... my heart falter. se un dio non è. if he is not a god. Ma... lo potrò. Lo voglio. But I can! I will! 18 Ho risoluto. Il grande, I am resolved! The greatest, Ballo Ballet l’insoffribil de’ mali è l’esser privo most intolerable of ills is to be deprived 19 dell’unico dell’alma amato oggetto: of the only being my soul adores. Coro Chorus assistetemi, o dèi, la legge accetto. Be with me, ye gods! I accept your decree. Chi mai dell’Erebo Who is this 15 fra le caligini, who draws near to us Presto Presto sull’orme d’Ercole through the gloom of Erebus e di Piritoo in the footsteps of Hercules conduce il piè? and of Pirithous? D’orror l’ingombrino May the savage Eumenides 22 23 23 le fiere Eumenidi, overwhelm him with horror, Orfeo Orpheus e lo spaventino and the howls of Cerberus Mille pene, ombre moleste, A thousand pangs I too suffer, gli urli di Cerbero terrify him come voi sopporto anch’io; like you, o troubled shades; se un dio non è. if he is not a god. ho con me l’inferno mio, my hell lies within me, 20 me lo sento in mezzo al cor. in the depths of my heart. Ballo Ballet 24 21 Coro Chorus Orfeo Orpheus Ah quale incognito affetto flebile, Ah! What unknown feeling of pity Deh! placatevi con me, Oh be merciful to me, dolce a sospendere vien l’implacabile sweetly comes to soften our implacable furie, larve, ombre sdegnose. ye Furies, ye spectres, ye angry shades. nostro furor. rage. 25 Coro Chorus Orfeo Orpheus No. No. Men tiranne, ah! voi sareste Ah! You would be less harsh al mio pianto, al mio lamento, to my weeping and lamenting Orfeo Orpheus se provaste un sol momento if for but a moment you could know Vi renda almen pietose May my cruel grief cosa sia languir d’amor. what it is to languish for love. il mio barbaro dolor. at least earn your pity. 26 22 Coro Chorus Coro Chorus Ah quale incognito affetto flebile, Ah! What unknown feeling of pity Misero giovine! Wretched youth, dolce a sospendere vien l’implacabilenostro sweetly comes to soften our implacable che vuoi, che mediti? what seek you? What is your purpose? furor! rage? Altro non abita Here dwell naught Le porte stridanosu’ neri cardini Let the gates creak on their black hinges, che lutto e gemito but grief and lamenting e il passo lascino sicuro e libero and let the victor, safe and free, in quelle orribili in these fearful, al vincitor. be allowed to pass. soglie funeste. mournful regions. 24 25 Scena Seconda Scene Two che mi viene a incontrar stuolo felice. which comes to meet me. 27 Euridice dov’è? Where is Eurydice? Ballo Ballet 30 28 Coro Chorus Ballo Ballet Giunge Euridice! Eurydice is coming! 29 Orfeo Orpheus Vieni a’ regni del riposo, Come to the realms of bliss, Che puro ciel! Che chiaro sol! How clear the sky! How bright the sun! grande eroe, tenero sposo, great hero, tender husband, Che nuova serena luce è questa mai! How new and serene is this light! raro esempio in ogni età. rare example in any age! Che dolce, lusinghiera armonia formano What sweet, enchanting harmony Euridice Amor ti rende; Amor returns Eurydice to you; insieme do the song of the birds, già risorge, già riprende already she revives and recovers il cantar degli augelli, the purling of the streams, la primiera sua beltà. all the flower of her beauty. il correr de’ ruscelli, the murmur of the breezes make together! 31 dell’aure il sussurrar! This is the abode Ballo Ballet Questo è il soggiorno of the blessed heroes. 32 de’ fortunati eroi. Here everything breathes peace and Orfeo Orpheus Qui tutto spira un tranquillo contento, contentment, Anime avventurose, Kind spirits, ma non per me. but not for me. ah! tollerate in pace le impazienze mie: ah! suffer my impatience in peace! Se l’idol mio non trovo, If I cannot find my idol, se foste amanti, If you were lovers sperar no ‘l posso: there is no hope for me! conoscereste a prova you would know for yourselves i suoi soavi accenti, Her sweet voice, quel focoso desio the burning desire gli amorosi suoi sguardi, il suo bel riso her loving glances, her tender smile, che mi tormenta, which torments me, sono il mio solo, il mio diletto Eliso. are my only, my blissful Elysium! che per tutto è con me. which goes with me everywhere. Ma in qual parte sarà? But where can she be? Nemmeno in questo Not even in this Chiedasi a questo Let me ask this happy crowd placido albergo peaceful haven 26 27 esser poss’io felice, can I be happy Atto Terzo, Scena Prima Act Three, Scene One se non trovo il mio ben. if I do not find my love. 33 34 Coro Chorus Orfeo Orpheus Viene Euridice. Here is Eurydice! Vieni: segui i miei passi, Come, follow my steps, Torna, o bella, al tuo consorte, Return, fair one, to your husband, unico amato oggetto dearest, only object che non vuol che più diviso from whom merciful heaven del fedele amor mio. of my faithful love. sia da te, pietoso, il ciel. wishes you never more to be parted. Non lagnarti di tua sorte, Do not lament your lot, Euridice Eurydice ché può dirsi un altro Eliso for a husband so true Sei tu! M’inganno? Is it you? Am I deceived? uno sposo sì fedel. can be called another Elysium. Sogno? Veglio? Deliro? Am I dreaming or awake? Or delirious?

Orfeo Orpheus Amata sposa, Beloved wife, Orfeo son io, I am Orpheus, e vivo ancor; ti venni and I am still alive. fin negli Elisi a ricercar; fra poco I came to search for you even in Elysium. il nostro cielo, il nostro sole, il mondo Soon you will see our sky, our sun, di bel nuovo vedrai. our dear world once again!

Euridice Eurydice Come! ma con quale arte? You are alive? I am living? ma per qual via? How? But by what art, by what means?

28 29 Orfeo Orpheus Euridice Eurydice Saprai tutto da me; I will tell you all, E un dolce sfogo Yet a soft pledge of my tender love per ora non chieder più, but do not ask more now! del tenero amor mio, nel primo istante in the first moment that you find me meco t’affretta, Hasten with me, che tu ritrovi me, ch’io te riveggo, again, that I see you again, e il vano importuno timor dall’alma and banish vain importunate fear from your t’annoia, Orfeo! annoys you, Orpheus! sgombra: soul! ombra tu più non sei, io non son ombra. You are no longer a shade, and I am not a shade. Orfeo Orpheus Ah! non è ver, ma... sappi... Ah, that is not true, but ... know that ... Euridice Eurydice senti... (oh legge crudel!) bella Euridice, listen ... (O cruel decree!) Dear Eurydice, Che ascolto! e sarà ver? What do I hear? Can it be true? inoltra i passi tuoi. quicken your steps. pietosi numi, Merciful gods, qual contento è mai questo! what joy this is! Euridice Eurydice Io dunque, in braccio In my love’s arms, Che mai t’affanna But what distresses you all’idol mio, fra’ più soavi lacci in the sweet nets in sì lieto momento? in this happy moment? d’Amore e d’Imeneo, of Love and Hymen, nuova vita vivrò! I will live life anew! Orfeo Orpheus (Che dirò! lo preveddi; ecco il cimento!) (What can I say? I foresaw it! This is the Orfeo Orpheus moment of danger!) Sì, mia speranza; Yes, my dearest! ma tronchiam le dimore, But let us delay no more Euridice Eurydice ma seguiamo il cammin. Tanto è crudele and follow our road. Non mi abbracci! non parli! You do not embrace me? Nor speak? la fortuna con me, che appena io credo So cruel has fortune been with me Guardami almen. At least look at me. di possederti; appena that I hardly can believe that I possess you. Dimmi: son bella ancora Say, am I still beautiful so dar fede a me stesso. I can scarcely believe myself. qual era un dì? as I was once before? vedi: che forse è spento Look, has the colour in my cheeks 30 31 il roseo mio volto? perhaps faded? gli amplessi e i baci. embraces and kisses. Odi: che forse s’oscurò Listen, has the splendour of my eyes quel che amasti that you loved, Orfeo Orpheus e soave chiamasti and you called sweet, (Che barbaro martir!) Ma vieni e taci! (Cruel torture!) Do come, and be silent! splendor de’ sguardi miei? perhaps dimmed? Euridice Eurydice Orfeo Orpheus Ch’io taccia! e questo ancora I be silent! Did I have Andiamo, Come, mi restava a soffrir. to suffer this too? mia diletta Euridice; or non è tempo my beloved Eurydice! Now is not the time dunque hai perduta la memoria, Have you then forgone memory, di queste tenerezze; for these tendernesses; l’amore,la costanza, la fede!... love, faith and constancy? ogni dimora è fatale per noi. any delay is fatal for us. E a che svegliarmi dal mio dolce riposo, For what was I awakened from my soft or che hai pur spente repose, now that you have extinguished Euridice Eurydice quelle a entrambi sì care those chaste torches Ma... un sguardo solo... One single look... d’Amore e d’Imeneo pudiche faci!... so dear to both Love and Hymen? Rispondi, traditor. Reply, traitor! Orfeo Orpheus 35 È sventura il mirarti. To look at you would be disastrous. Orfeo Orpheus Ma vieni e taci! Do come, and be silent! Euridice Eurydice Vieni: appaga il tuo consorte. Come, do your husband’s bidding! Ah infido! Ah, faithless one! E queste son l’accoglienze tue! And this is your welcome! Euridice Eurydice mi nieghi un sguardo, You deny me a glance No: più cara è a me la morte, No, death is dearer to me quando dal caro amante when I should expect che di vivere con te. than life with you!. e dal tenero sposo from a true lover aspettarmi io dovea and tender husband 32 33 Orfeo Orpheus Orfeo Orpheus Ah crudel! Cruel one! Grande, o numi, è il dono vostro, Great is your gift, ye gods! lo conosco e grato sono I recognise it and am grateful! Euridice Eurydice ma il dolor, che unite al dono, But the grief which accompanies Lasciami in pace... Leave me in peace... è insoffribile per me. your gift is past all bearing. 36 Orfeo Orpheus Euridice Eurydice No: mia vita, ombra seguace No, my life, I will always come after you Qual vita è questa mai, che a vivere What life is this now which I am about to verrò sempre intorno a te. like a haunting shadow. incomincio! lead? E qual funesto terribile segreto Orfeo And what fatal, terrible secret does Euridice Eurydice m’asconde!... Orpheus hide from me? Ma perché sei sì tiranno? Then why are you so harsh? Perché piange e s’affligge?... Why does he weep and grieve? Ah non ancora troppo avvezza agli affanni Ah, I am as yet unaccustomed to the Orfeo Orpheus che soffrono i viventi, a sì gran colpo sorrows suffered by the living! Ben potrò morir d’affanno, I well could die of sorrow, manca la mia costanza... agli occhi miei Beneath so great a blow my constancy fails, ma giammai dirò perché. but I will never tell you why. si smarrisce la luce. Oppresso in seno the light fades before my eyes; mi diventa affannoso my breath, locked in my bosom, Euridice Eurydice il respirar. Tremo... vacillo... e sento becomes laboured. I tremble, I sway Grande, o numi, è il dono vostro, Great is your gift, ye gods! fra l’angoscia e il terrore and feel my heart wildly beating lo conosco e grata sono I recognise it and am grateful! da un palpito crudel vibrarmi il core. with anguish and terror. ma il dolor, che unite al dono, But the grief which accompanies 37 è insoffribile per me. your gift is past all bearing. Che fiero momento! Oh bitter moment! Che barbara sorte! Oh cruel fate! Passar dalla morte To pass from death a tanto dolor! to such sorrow! 34 35 Avvezza al contento I was used to the peace ah... mi sento... languir. Ah! ... I feel ... faint. d’un placido oblio, of a tranquil oblivion; fra queste tempeste but in these tempests Orfeo Orpheus si perde il mio cor. my heart is shattered. No sposa... ascolta... se sapessi... (Ah! che No, beloved! Listen! 38 fo?... ma fino a quando If you knew ... (ah, what am I doing? Orfeo Orpheus in questo orrido inferno How long must I suffer (Ecco un nuovo tormento!) (Here is a new torment.) dovrò penar!) in this fearful hell?)

Euridice Eurydice Euridice Eurydice Amato sposo, m’abbandoni così! Beloved husband, will you leave me thus? Ben... mio...ricordati... di... me... Dearest, remember ... me! Mi struggo in pianto,non mi consoli! I am consumed with grief; will you not l duol m’opprime i sensi, console me? Orfeo Orpheus non mi soccorri!... Sorrow overwhelms my senses; Che affanno!... What torment! un’altra volta, oh stelle! will you not aid me? Oh come mi si lacera il cor! Oh how my heart is torn! Dunque morir degg’io, O stars, must I then die once more Più non non resisto; I can resist no more ... senza un amplesso tuo... without an embrace from you, smanio, fremo, deliro... ah mio tesoro!... I rant ... I tremble ... I rave ... Ah! My senza un addio! without a farewell? treasure!

Orfeo Orfeo Euridice Eurydice Più frenarmi non posso; a poco a poco I can restrain myself no longer; little by little Giusti dèi, che m’avvenne. Io... manco... Merciful gods, what is happening? I faint la ragion m’abbandona, oblio la legge, my reason is forsaking me. Eurydice, io... mo... ro...... I die. Euridice, e me stesso. E... I forget the decree and myself! And … Orfeo Orpheus Euridice Eurydice Ahimè! dove trascorsi! Alas! What have I done? Orfeo... consorte... Orpheus, husband! Ove mi spinse un delirio d’amor!... Where has love’s frenzy driven me? 36 37 39 Sposa!... Euridice!... Beloved Eurydice! Sì: aspetta, o cara ombra dell’idol mio. Yes, wait, dear shade of my beloved! Euridice!... Consorte! Ah più non vive, Eurydice! My wife! Ah! She lives no longer, Ah! questa volta senza lo sposo tuo non Wait, wait! No, this time you shall not cross la chiamo in van, misero me, la perdo, I call her in vain! Woe is me! varcherai Lethe’s sluggish waters without your e di nuovo e per sempre! oh legge! oh I have lost her again, and for ever. Cruel l’onde lente di Stige. husband. morte! decree! Oh death! oh ricordo crudel! non ho soccorso, Oh bitter reminder! There is no help, Scena Seconda Scene Two non m’avanza consiglio. Io veggo solo No counsel for me! I see only (ah, cruel sight!) 42 (oh fiera vista!) il luttuoso aspetto the mournful signs of my terrible plight. Amore Love dell’orrido mio stato; Be satisfied, malevolent fate! Orfeo! che fai? Orpheus, what are you doing? saziati sorte rea, son disperato. I am in despair! 40 Orfeo Orpheus Che farò senza Euridice! What shall I do without Eurydice? E chi sei tu, che trattenere ardisci And who are you who dare to restrain Dove andrò senza il mio ben! Where shall I go without my love? le dovute a’ miei my last fury, Euridice! Oh dio! rispondi, Eurydice! Eurydice! casi ultime furie? which my plight justifies? io son pure il tuo fedel. O heavens! Answer! Euridice! Ah! non m’avanza I am still true to you! Amore Love più soccorso, più speranza Eurydice! Eurydice! Questo furore Calm your anger, lay down your weapon, né dal mondo, né dal ciel! Ah, there is no help, calma, deponi e riconosci Amore and recognise Love! Che farò senza Euridice! no hope for me Dove andrò senza il mio ben! either on earth nor in heaven! Orfeo Orpheus 41 Ah! sei tu... Ti ravviso; Ah, is it you? I recognise you! Ma finisca, e per sempre,co’ la vita il dolor! Ah! May grief end my life, and for ever! il duol finora tutti i sensi m’oppresse. Grief clouded all my senses before. Del nero Avernosono ancor sulla via; lungo I am already upon the path to black Avernus! A che venisti? Why have you come? cammino It is not a long road which divides me from my In sì fiero momento, In this bitter moment, non è quel, che divideil mio bene da me. love. che vuoi da me? What do you want with me? 38 39 Amore Love Amore Love Farti felice. Assai To make you happy! Basta; venite avventurosi amanti, Enough! Come, happy lovers, per gloria mia soffristi, Orfeo. Ti rendo Orpheus, you have suffered enough for my usciamo al mondo, let us go back to earth: Euridice, il tuo ben. Di tua costanza glory; ritornate a godere. return to enjoy it maggior prova non chiedo. I give you back your beloved Eurydice. Ecco: risorge a riunirsi con te. I seek no greater proof of your fidelity. Orfeo Orpheus Here she is: she rises to be reunited with you. Oh fausto giorno! Oh happy day! Oh amor pietoso! Oh merciful Amor! Orfeo Orpheus Che veggo! oh numi! What do I see? Ye gods! Euridice Eurydice Sposa... My wife! Oh lieto fortunato momento! Oh joyful, blissful moment!

Euridice Eurydice Amore Love Consorte! My husband! Compensa mille pene un mio contento. My contentment compensates for a thousand woes! Orfeo Orpheus E pur t’abbraccio! Can I really embrace you? Scena Terza Scene Three Euridice Eurydice 43 E pure al sen ti stringo! Can I clasp you to my bosom? Ballo. Maestoso - Grazioso - Allegro - Ballet. Maestoso - Grazioso - Allegro - Andante - Allegro Andante - Allegro Orfeo Orpheus Ah! quale riconoscenza mia... My gratitude to you.

40 41 Orfeo Orpheus Coro Chorus Trionfi Amore, Let Amor triumph, Trionfi Amore, Let Amor triumph, e il mondo intero and all the world e il mondo intero and all the world serva all’impero serve the empire serva all’impero serve the empire della beltà. of beauty! della beltà. of beauty! Di sua catena Never was sweeter talvolta amara the liberty mai fu più cara of her sometimes Euridice Eurydice la libertà bitter chains! La gelosia Jealousy consumes strugge e divora; and devours, Coro Chorus ma poi ristora but faith Trionfi Amore, Let Amor triumph, la fedeltà. restores. e il mondo intero and all the world E quel sospetto And that suspicion serva all’impero serve the empire che il cor tormenta, which torments the heart della beltà. of beauty! alfin diventa at last turns felicità. to delight. Amore Love Talor dispera, The cruelty Coro Chorus talvolta affanna of a tyrant Trionfi Amore, Let Amor triumph, d’una tiranna, causes now despair, e il mondo intero and all the world la crudeltà. now distress. serva all’impero serve the empire Ma poi la pena But the lover della beltà! of beauty! oblia l’amante forgets his pains nel dolce istante in the sweet moment della pietà. of mercy. 42 43 Previously released on PENTATONE

PTC 5186 725 PTC 5186 646 PTC 5186 669 PTC 5186 678

Il giardino dei sospiri is a collection of scenes from secular For her debut album, Italian star soprano Francesca A selection of solo cantatas, both secular and sacred, from Swedish mezzo-soprano star Ann Hallenberg and the cantatas on tragic love, ranging from Handel’s Qual ti Aspromonte takes us on a journey to the roots of the the Italian, German, and English traditions. Including works renowned players of il pomo d’oro revive the sensational riveggio to new editions of works by Leo, Marcello and operatic tradition with this exquisite collection of prologues by Handel, Vivaldi, and Bach in settings large and small, Venice carnival of 1729 with an album full of rediscovered Gasparini. The tragic heroines of these love stories are taken from some of the earliest operas ever written, with obbligato instruments ranging from oboe to chimes, works that have here been recorded for the first time. interpreted by Czech star mezzo-soprano Magdalena including Monteverdi’s L’Orfeo. the magnificent cantatas on this album create a portrait Kožená, who is accompanied by Václav Luks and of this intimately transcendent repertoire. Collegium 1704.

44 Acknowledgments

PRODUCTION TEAM Executive producers David Bates (La Nuova Musica) & Kate Rockett (PENTATONE) Recording producer Jonathan Freeman-Attwood What we stand for: Recording engineer David Hinitt

Cover design Luke Edward Hall Liner notes James Halliday The Power of Classical Music Design Zigmunds Lapsa PENTATONE believes in the power of classical music and is invested in the Product management Kasper van Kooten philosophy behind it: we are convinced that refined music is one of the most important wellsprings of culture and essential to human development. This album was recorded live at St John’s Smith Square, London in May 2018. True Artistic Expression Pubisher credit: We hold the acoustic tastes and musical preferences of our artists in high regard, CHRISTOPH WILLIBALD GLUCK, Orfeo ed Euridice and these play a central role from the start to the end of every recording project. Azione teatrale per musica in three acts (version Vienna 1762). This ranges from repertoire selection and recording technology to choosing cover Libretto by Raniero de’Calzabigi. art and other visual assets for the booklet. Published by Anna Amalie Abert and Ludwig Finscher (Gluck. Sämtliche Werke) © Bärenreiter-Verlag Kassel · Basel · London · New York · Praha Sound Excellence PENTATONE stands for premium quality. The musical interpretations delivered by our artists reach new standards in our recordings. Recorded with the most PENTATONE TEAM powerful and nuanced audio technologies, they are presented to you in the most Vice President A&R Renaud Loranger | Managing Director Simon M. Eder luxurious, elegant products. A&R Manager Kate Rockett Head of Marketing, PR & Sales Silvia Pietrosanti