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GLUCK (1714-1787) Orfeo Ed Euridice Vienna Version, 1762

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Christoph Willibald GLUCK (1714-1787) Orfeo ed Euridice Vienna Version, 1762 Opera in Three Acts Libretto by Ranieri de' Calzabigi Orfeo ..........................................Ann-Christine Biel Euridice .................................................MayaBoog Amor ...............................................KerstinAvemo Shepherds and Nymphs Furies and Spectres of Hades Heroes and Heroines of Elysium Followers of Orfeo Drottningholm Theatre Orchestra (Leader: Jorie Garrigue) Drottningholm Theatre Chorus (Chorus Masters: Mark Tatlow, Sanna Hodell Risberg) Arnold 0stman Lil Overture Aria: Milk perre 0:45 (Orfeo) Act I, Scene 1 13:43 Chorus: Ah, quale incog~litoaffetroflebile 0:45 [II Chorus: Ah, se irrtorrto a qttest'trrrrafrrrtesta 3:05 Aria: Mert tirarrne 0:41 I3 Recitativo: Basta, basta, o conrpagrri 0:41 (Orfeo) (Orfeo) Chorus: Ah, qrrale irrcogrrito affettoflebile 1:09 Ballo 1:31 [51 Chorus: Ah, se irrtor~roa q~iest'~mmfrinesta2:24 Scene 2 11 :07 l!3 Aria: Clriarrto il rnio be11 cosi 1:05 Ballo 1:09 (Orfeo) Arioso: Clte puro ciel 426 I7 Recitativo: Errridice, onrbra cam 053 (Orfeo, Chorus) (Orfeo) IChorus: Vierri a' reg~ridel riposo 1:43 Aria: Cerco il ntio berr cosi 1 :03 Ballo 1:21 (Orfeo). Recitative: Arri~t~ea~'~~entrrrose 0:42 Recitatrvo: Errridice, Errridice! 1:02 (Orfeo, Chorus) (Orfeo) Chorus: Torna, o bella, a1 trio consorte l:47 Q Aria: Piarrgo il rnio bell cosi (Orfeo) Act Ill, Scene 1 kecitativo H Recitativo: Viesi, segni i rniei passi Nr~iri,Barbari Ntrnri (Orfeo, Euridice) (Orfeo) W Duetto: Vierri appaga il trio cortsorte (Orfeo, Euridice) Scene 2 Recitativo: Qrial vita 2 qaesta nrai Recitiativo: T'assiste Anlore! (Euridice) (Amor, Orfeo) E Aria: Chefiero rr~orr~entoito D3- Aria: Gli snuardi trattie~ri (Euridice) (Amor) Recitativo: Ecco CI rlrrola torrrrento! Recitativo: CIre dissc? Cite ascoltai? 1:39 (Orfeo, Euridice) (Orfeo) E! Aria: Clze far6 senza Errridice? H Endof Act I (Olfe~), Rec~tat~vo:Ahfir~isca eper serrrpre Act 11, Scene 1 9:08 (Orfeo) ill Ballo 1 :06 Bil Chorus: Clri ntai dell'Erebo fra le calinirri 0:27 Scene 2 Ballo 0:40 E@ Recitativo: Orfeo, clte fai? tl$ Chorus: Clri rnai del1'Erebofr.a le caligirri 1:01 (Amor, Orfeo) Ballo 1:04 -E% Dell ~lacate~icon nre 2:04 Scene 3 (ordo, Chorus) Chorus: Triorfi Amore Chorus: Misero giovarre, clre ~rtroi,clre nrediti 0:47 (Orfeo, Amor, Eoridice, Chorus) Christoph Willibald Gluck (1714-1787) Orfeo ed Euridice The son of a fore~terwho, by 1727, was in the service catalyst for a change of course for opera, now of Prince Philipp Hyazinth van Lobkowitz. Christoph abandoning the conventions of Metastasian opcrrr Willibald Gluck was born in 1714 and spent his .serirr in favour of a new si~i~plicityand a measure of childhood in his native Bohemia, with its strong dramatic realism. The first result of the joint work of musical traditions. He studied at the University of Calzabigi. Angiolini and Gluck, under the Prague, while continuing his own musical activities, encot~ragemeot of Count Durazzo, was 0r:feo e~l and by 1734 was in Vienna, it is supposed \r,ith the E~rridice.There were to be t\rro further 'reform' operas patronage of the Lobkowitz family. There followed a with Calzabigi, in 1767 Alceste (Naxos 8.66066-68) period in Italy, chiefly in Milan, during which he and in 1770 Paride ed Elenrr. Betmeen 1774 and 1779 began to establish himself as a composer of opera. It Gluck enjoyed considerable success in Paris, where a was perhaps through his connection with the French version of Orfeo ed E~rr-idicewas staged in Lobkowitz family that he found himself in 1746 in August, 1774, and an adaptation of Alceste two years London, commissioned to provide opera for the King's later. The failure of his Ovidian Echo et Narcisse and Theatre, and the following years brought employment ill-health brought him in 1779 back to Vienna, where in various cities of Europe. In 1750 he married in he remained until his death in 1787. Vienna and in the next years wrote operas on libretti by Gluck later credited Calzabigi with the inspiration Metastasio for that city, for Prague, Naples and Rome, for Orfeo ed Errridice, a judgement in which the while serving first as Konzertmeister and then as librettist himself fully concurred. Calzabigi laid Kapelhneister to the Prince of Saxe-Hildburghausen. particular stress on the relationship between opera and For this patron he set Metastasio's libretto Le ciresi, a declamation, in one sense a return to the very origins sumptuous performance of which for the Emperor of the form in its late sixteenth-century association brought a satisfactory reward, not least in establishing with rhetoric. In his introduction to the work he Gluck in court circles. During the decade he explains that he bas changed the scene of Eurydice's collaborated with Count Durazzo, who had been death from Thrace to Campania, near to the reputed appointed in 1754 to take charge of the two principal entrance to the Undenvorld near Lake Averno, thus theatres of Vienna, particularly in the provision of preserving the Aristotelian unity of place. He further adaptations of French optra coliriqrre for the Viennese adapted the legend, according to which Orpheus had stage. lost Eurydice by disobeying the prohibition laid on him The collaboration with Durazzo was of great not to look round at her as be left the Undenvorld, by importance both for Gluck and for the history of opera. conforming with the happy ending expected of the In 1755 he became court composer and in 1759 modem stage and avoiding the harsher ending outlined composer of ballets, with responsibility in the in his classical sources, Vergil's fourth Georgic and following year for theatre music. In 1761 he the sixth book of the Aelreid. At the first performance, collaborated with the dancer and ballet-master Gasparo given on 5th October 1762 at the Burgtheater in Angiolini in a new ballet d'actiorr, a ballet with a story, Vienna, the pat of Orpheus was taken by the castrato following now current fashions, Don Jrrarr orr Le festin Gaetano Guadagni, with Marianna Bianchi as rle pierre (Don Juan or The Stone Guest). The arrival Eurydice and Lucile Clavereau as Cupid (Love). in Vienna that year of Ranieri de' Calzabigi was the Synopsis [iI The lively overlure touches briefly on something of Act 11 the drama to come. Scene 1 The scene is set in the dreaded caverns of Hades. Act I Furies and spectres dance their infernal dance, Scene 1 interrupted by the sound of the lyre of Orpheus. [ZI Solemn music at the rise of the curtain reveals a lonely grove of laurels and cypresses, with the tomb of The spirits seek to know who dares to enter Hades, ' Eurydice, around which nymphs and shepherds lament, following the heroes Hercules and Pirithous. while Orpheus calls on his beloved. They resume their dance. [31 In a recitative Orpheus bids his companions to desist and leave him alone to mourn. The spirits repeat their question and call on the Eumenides and Cerbems to deter the mortal, if monal [41 The nymphs and shepherds continue their mourning he is. dance. They resume their dance They end their lament and disperse. Orpheus seeks to calm the Furies and spirits ma Orpheus calls out the name of his beloved Eurydice, weeping for her loss. They are partially placated by his pleas and ask Orpheus his purpose. fjj He bitterly inveighs against the powers of the Underworld. E3 Orpheus declares himself a fellow-sufferer with the spirits of Hades, with his own torments. Scene 2 The god of Love appears, offering help. Orpheus The spirits are further mollified. will be allowed to bring Eurydice back from the dead, if he can, with his music, placate the furies and spirits of Orpheus continues his pleas, if the spirits around Hades. In bringing her back, he must not turn to look at him have ever felt the pangs of love. her, as she follows him back to the land of the living, nor may he explain to her the reason for his actions. tB Now placated, the spirits give way and allow Orpheus to enter the gates of their realm. They disperse. Love urges Orpheus to follow this decree, reminding him that his suffering will be transitory and Scene 2 that lovers are sometimes without words. The scene changes to a verdant countryside, meadows covered in flowers, arbours and murmuring Orpheus is overjoyed, hut foresees the difficulties streams. Orpheus is joined by heroes and heroines of he will encounter in Eurydice's bewilderment at the old. hehaviour commanded of him. Orpheus delights in the scene, hut Elysium is not There is thunder and lightning as he goes. for him: his paradise is Eurydice, whom he now seeks. 5 8.660064 The heroes and heroines praise the courageous @J She has passed from death to such sorrow. example of Orpheus. Dl Eurydice pleads with Orpheus, who finally can I They dance. resist no longer. He turns to look at her, and she dies. Orpheus is impatient to see Eurydice, who now Orpheus laments the second death of his beloved. appears. l3l Now he only wants to follow her back to Hades, H She is escorted by heroines of the past and Orpheus joining her in the journey over the Styx. takes her hand and hurriedly leads her away. Scene 2 Act 111 As he is about to kill himself, Love intervenes, Scene 1 disarmine- him and brineine- - a reward for his love and Orpheus leads Eurydice on the path to the upper constancy. Eurydice shall live again, and she comes to world, always without looking at her.
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    Franz Joseph Haydn L’ANIMA DEL FILOSOFO ossia Orfeo e Euridice Dramma per musica in cinque atti Libretto di Carlo Badini PERSONAGGI Creonte sua figlia Basso Euridice sua figlia Soprano Orfeo cantore tracio Tenore Plutone Basso Un Genio messaggero della Sibilla Soprano 4 seguaci di Creonte; un guerriero di Arideo; amorini, vergini, uomini, ombre infelici, furie, Baccanti, coro. Composto nel 17912 Prima rappresentazione Firenze, Teatro della Pergola, 9 giugno 1951 Haydn: L’anima del filosofo - atto primo [N° 1 – Ouverture] ATTO PRIMO Scena I° Orrida selva montuosa Euridice, Coristi, poi mostri [N°2 – Recitativo accompagnato] [N° 3° – Recitativo accompagnato] EURIDICE EURIDICE Sventurata, che fo? Dove mi aggiro? Che chiedete da me? Che mai bramate? Invan cerco involarmi alle mie pene. Di quell’infausta pira Mille foschi pensieri Ben riconosco il barbaro disegno. M’annuvolan la mente ad ogni istante, Già nell’ara d’amore E ciascheduno d’essi In solenne olocausto arse il mio core. Forma un atro vapor a me d’intorno, A nuovo sacrificio Che mi nasconde il giorno Di andar io non pavento. E la ragion m’oscura. Morasi pur. Nella proterva sorte E per mia maggior sciagura Pena non à. Non ha terror di morte Il mio povero cor languisce oppresso La semiviva amante; Fra le smanie d’amor nell’agonia È facile morir al cor spirante. Di morte, e mai non muore. [N° 3b – Aria] [N° 2b – Coro con solo] EURIDICE CORISTI Filomena abbandonata Ferma il piede, o principessa! Sparge all’aure i suoi lamenti, Nell’orror di queste selve E le note sue dolenti Più feroci delle belve Mai non trovano pietà.
  • Winged Feet and Mute Eloquence: Dance In

    Winged Feet and Mute Eloquence: Dance In

    Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice.