GLUCK (1714-1787) Orfeo Ed Euridice Vienna Version, 1762
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 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. She is at first life again, waking as from a deep sleep. They are now delighted and then puzzled and angry at the failure of re-united. her husband to embrace her or even look at her. He remains steadfast, still leading her on. Scene 3 Ell At a sign from Love the scene changes to the temple Both are distressed by the situation, Eurydice by her of Love, where nymphs and shepherds celebrate the husband's seemingly unfeeling behaviour, and Orpheus return of Eu~ydice,joined in their~ejoicingby Orpheus. by her importunity.
Eurydice foresees future unhappiness and declares herself now unused to the troubles of humanity. Keith Anderson Ann-Christine Biel Educated at the MusikhBgskolan Stockholm, Ann-Christine Biel made her d6but at the Dmttningholm Court Theatre as Chembino in Le noqe di Figaro, going on to undertake there the r6les of Pamina, Susanna, Fiordiligi, Ilia and Serpetta in the series of Mom operas with the producer Goran Jwefelt, under the conductor Arnold Ostman. She made her dCbut at the Royal Opera Stockholm as Oscar in Verdi's (111ballo in rnaschera with Nicola Gedda singing Gustavus. Her international debut came when she appeared as Michaela in Peter Brook's famous La frag6diede Carfrzert,first in Paris and then in an international tour inEurope, Japan, Australia, Canada and, for one year, on Broadway in New York. She has also sung many concerts in the United States. Ann-Christine Biel has taken part in several television productions and given concerts in Schwetzingen, Parma, Frankfurt, Amsterdam, BNSS~~S,London, New York, Chicago and Beijing, among other musical centres. Maya Boog The Swiss soprano Maya Boog studied singing and church music in Lucerne, completing her training at the Cologne Musikhochschnle in 1993, the winner of various awards, notably in the Barcelona Francisco Viiias Singing Competition. She made her debut at the Municipal Theatre in Lucerne and also participated in the Zurich International Opera Studio. Her career has brought her engagements particularly in Baroque and Mozart operas in Darmstadt, at the Komische Oper in Berlin, in Mannheim, St Gallen and Drottningholm, as well as with the Vienna Volksoper and in the Salzburg Mozart Week. In 2000 she took the title r6le in Rimsky-Korsakov's The Golden Cockerel at the Bregenz Festival. She has appeared in oratorio and in Lieder recitals throughout Eumpe and made her American d6but at Ann Arbor in Bach's St Matthew Passiort in 2000. Kerstin Avemo The Swedish soprano Kerstin Avemo was born in Stockholm in 1973 and started her musical education learning the ~ianoand the cello. She studied at the Adolf FredrikMusic School and the Stockholm Musikn~rnnasium,before entiring the Operastudio-67 and undertaking her fast operatic engagements in operas by ~ont&rdi,Puccini and Mom, in 1996 as Despina in Cosi fa11 tune. In 1996 she entered the Operahdgskolan in Stockholm and in the following winter season sang the leading part of Agnes in Rolf Liebermann's Sclurle der Fracre~z,at the invitation of the Vienna Opera School, at the Schonbmnn Schlosstheater and a number of German opera-houses. She made her dCbut at Drottnin~holmwith Amor in Cluck's Orfeo ed Ettridice and in 1999 appeared with the Royal Swedish Opera as Jenny in ~oieldieu'sUar~ze Ulunche and as~er~cttain Mozart's ~*ijirrru$ardi~tiera.She won success at thc Stockholm Folkoperan as Violetla in i!.u rr~r~~inraand is engaged lo sing the title-r6le in Berg's I~tbin 2002. Drottningholm Court Theatre
Drottningholms Slottsteater (Drottningholm Court Theatre) was built to the design of the theatre architect, Carl Fredrik Adelcrantz, at the request of Queen Lovisa Ulrika. The building was completed in 1766 and rests on the remains of an earlier theatre destroyed by fire in 1762. Drottningholm Slottsteater is built of simple materials. The decorations that adorn the auditorium form a theatrical game in stucco, papier michd and paintings. During the eighteenth century the rooms off the auditorium acted as dwellings for the staff and as public rooms. In 1791 certain adjustments were made to the royal apartments and a foyer, the D6journersalong. was built to the design of L. J. Desprez. The stage measures twenty metres from the footlights to the back and is still one of the deepest in Sweden. The stage machinery, constructed by the Italian mechanic D. Stolpani, allo\vs for quick changes of scenery while the curtain is up. In addition the stage has moving waves, trap-doors, cloudcars, lighting machinery and wind and thunder apparatus. Its heyday began in 1777 when Gustaf IU took over the palace. The repertoire included foreign and Gustavian operas, op4ras comiques, French classical dramas and pantomime ballets. After Gustaf's death in 1792 Swedish theatrical life stagnated. Drottningholms Slottsteater was more or less forgotten. At the beginning of the 1920s the court theatre was 'rediscovered' by the literary and theatre historian Agne Beijer. Under his guidance the theatre was restored to its original condition. The stage machinery was fitted with new ropes and wax candles were replaced by electric lamps. The unique collection of original scenery, of which fifteen complete and twenty incomplete sunrive, have now been copied for use today. The curtain rose again in the theatre on 19th August 1922. The performances, few at fist, gradually increased, and the theatre acquired a growing international reputation as a festival theatre, with works by Haydn, Handel, Gluck and Mozart and numerous perfonnances by artists and companies from abroad. The theatre soon became renowned for its reconstructions of eighteenth-century ballet and historically informed performance has become central to the theatre's philosophy. Drottningholms Slottsteater is administered by the Stiftelsen Drottningholms teatermuseum. Performances are financed mainly with contributions from the Swedish State and annual financial support from ForeNngen Drottningholmsteatems Vanner (The Friends of Drottningholm). In addition to the theatre's own productions, the Royal Opera, Stockholm gives guest performances each year. In 1991 the World Heritage Committee of UNESCO designated the theatre, together with Drott~ngholmPalace, the Chinese Pavilion and the sul~oundingpark, a World Heritage site. Drottningholm Theatre Orchestra
First Violins Violas Oboe Trumpets Jorie Garrigue Torbjorn Kohl Peter Frankenberg David Hendry Theresa Caudle Elisabeth Amherg Kennet Bohmau Michael Shaw Iona Davies Pedrag Novovic Elin Gabrielssou Chalumeaux Trombones Zbigniew Pilch Cellos Alf Horberg Walter Brolund Peter Spissky Dominic O'Dell Urban Wiborg Kristina Lindgkd Bassoon Sven Larsson Second Violins Sven Aarflot Ulrika Wahlberg Basses Harp Marit Bergman Yngve Malcus Horns Berit Lindgreu Marek Skuza Love Persson Raul Diaz Pauline Smith Kerstin Ripa Timpani Flutes Johnny Ronnlund Maria Bania Heinz Meyer Chrlstoph Willibald Gluck (1714-1787) Orfeo ed Euridice Christoph WiUibald Gluck, 1714 in Erasbach in der nach Wien, wo er fiir einen Richhmgswechsel auf dern Oberpfalz geboren, wuchs in Nordbiihmen auf, wo sein Gebiet der Oper sorgte, indem er die Konventionen der Vater 1727 als Forstmeister in den Dienst des &ten metastasianischen opera seria zugunsten einer neuartigen Philipp Hyacinth vou Lobkowitz trat. Nachdem er schon Schlichtheit und eines gewissen dramatischen Realismus fNh mit der Whmischen Musiktradition vertraut aufgab. Das mte Resultat der Gemeinschafmrbeit von geworden war, fiihrte ihn sein Weg iiber ein Studium an Calzabigi,Angiolini und Gluck war Orfeo edEuridice. Es der Rager Universitiit 1734 zuniichst nach Wien und folgten noch zwei weitere sog. ,Refonnop" mit spiter nach Italien, wo er hauptsichlich in Mailand Calzabigi: 1767 Alceste (Naxos 8.66066-68) und 1770 verblieb. Hier beg~ndete er seinen Ruf als Paride ed Elm. Zwiscben 1774 und 1779 feierte Gluck Opernkomponist. Vermutlich mit Unterstiitzung des grok Erfolge in Paris, wo im August 1774 eine Hauses Lobkowitz ging er 1746 nach London und franziisiscbe Fassung des Orfeo und zwei Jabre spkr komponiem Werke fiir das dodge King's Theatre. Es eine Bearbeitung der AIceste gespielt wurde. Doch nach folgteu verschiedene Stationen auf dern europiischen dern Pariser MiEerfolg seiner Oper Echo et Narcisse, bei Kontinent. 1750 heiratete er in Wien die dmn Proben er einen Schlaganfall erlitten hatte, kehrte Kaufmannstochter Marianne Pergin und schrieb in den Gluck nach Wien zuriick, wo er bis zu seinem Tode im folgenden Jahren fiir diese Stadt, fiir Rag, Neapel und Jahre 1787 hlieb. Rom Opem auf Libretti von Piem Metastasio, wihrend er Calzabigi nahm sptiter fiir sich in Anspruch, Gluck zuniichst als Konzerhneister und danach als Kapellmeister durch seinen klassisch mdvollen Text wesentlich zur fiir den Prinzen von Sachsen-Hildburghausen arbeitete. Kompsition des Ofeo inspirien zu baben; Gluck hat Gluck war wesentlich an der Vorbereitung eines vom dern nie widerspmchen. Besondereu Wert legte der Prinzen veranstalteten groku Musik- und Theaterfestes Librettist auf die Beziehung zwischen Oper und beteiligt, fiir das er ua. auch die Musk zu Metastasios Deklarnation, in gewissem Sinne auf eine Ruckkehr zu Einakter Le cinesi schrieb. Es wurde ein glanzvolles Fest, den ersten Anfbgen der Gattung im spaten 16. das sein weiteres Fortkommen in Wien erleichterte und Jahrhundert in ihrer Verbindung mit der Rhetorik. In ihm Beziehungen zum kaiserlichen Hof vmchaffte. seiner Vorrede erklirt er, dass er den Schauplatz von Wihrend dieses Jhhnts arbeitete er mit dern Grafen Eurydikes Tod von Thrakien nach Kampanien verlegt Dmzusammen, der ab 1754 die beiden pOen habe, in die Nihe des vermeintlichen Eingangs zur Wiener Theater leitete; bier besch;iftigte sich Gluck Unterwelt nahe dern Avemer See, um damit die von besonders mit dm Bearbeitung der franziisischen opera Aristoteles geforderte Ehheit des Ortes zu gewtibleisteu. comique fiir die Wiener Biihne. Weiterhin adaptierte er die Legende (nach dm Orpheus Die Zusammenarbeit mit Dmwar von grokr Eurydike verliert, da er das Verbot, sich nach dern Bedeuhmg fiir Gluck und fiir die Geschichte der Oper Verlassen der Untenvelt nach ihr umzuwenden, schlechthin. 1755 wurde er Hofkomponist und 1759 missachtet), indem er sich flir das zeitiibliche ,,lieto fine", Ballettkompnist, und im Jahre darauf war er auch fiir die das gltickliche Ende, anstelle des b&teren Schlusses der Schauspielmusik verantwdch. 1761 schuf er mit dern klassischen Vorlagen, Vergils 4. Georgica und des 6. Timer und Ballemneister GaspAngiolini das Ballett Buchs der his,entschied. - Bei der Urauffihmg am 5. Don Juan ou Le festin de pierre @on Juan oder Der Oktober 1762 im Wiener Burgtheater sang der Kash-at Steineme Gast), ein sog. ballet d'action; derartige Gaetano Guadagni den Orpheus; Marianna Bianchi war ,,Handlungsballette" waren die Mcde der Zeit. Im selben die Eurydike und Lucile Clavereau sang die Partie des Jahr kam der Dichter und Literat Ranieri de' Calzabigi Amor. 8.660064 10 Die Handlung
[II Die lebhafte Ouverture stimmt auf das folgende Handelns voraus. Geschehen ein. @J Blitzen und Douner. Er geht ab. Erster Akt Szene 1 Zweiter Akt Einsamer Hain von Lorbeerbaumen und Zypressen Szene 1 mit dem Grab Eurydies. Zu feierlich-emster Musik Fd Furchterregende Hohlengegend im Hades. Orpheus erklingen die Klagen der Nymphen und Schafer sowie die lhst seine Leier erklingen, warend Furien und Geister Wehmfe des trauernden Orpheus. ihn mit einem Hollentanz begriil3en.
[31 Orpheus bittet seine Begleiter, ihn in seiner Trauer Die Geister verlangen zu erfahren, wer \vie die allein zu lassen. Helden Herakles und Peiristhos zu ihnen hinabgestiegen sei. [41 Die Nymphen und Schafer fahren mit ihrem Trauertanz fort. Die Geister setzen ihren Tanz fort.
[51 Sie beenden den Klagegesang und ziehen sich Die Geister beschw6ren die Eumeniden, Orpheus den zu~ck. Weg zu versperren.
Ba Orpheus mft den Namen seiner geliebten Ganin Die Geister setzen ihren Tanz fort. und beweint ihren Tod. Orpheus versucht, die Furien und Geister mit seinem fjj Voll Bitterkeit beklagt sich Orpheus uber die Gesang zu besanftigen. erbarmungslosen Gotter der Untenvelt. Der Widerstand der Geister lest nach; sie fragen Szene 2 Orpheus nach dem Gmnd seines Kommens. Amor, der Gott der Liebe, schwebi herab und bietet seine Hilfe an. Orpheus durfe seine Gattin aus dem Orpheus erklM, dass er \vie die Geister selbst tausend Totenreich entfiihren, wenn es ihm gelinge, die Furien Qualen leide. und Geister des Hades durch die Macht seines Gesanges zu besanftigen. Auf ihrem Weg zu~ckzur Welt der Die Geister beginnen Mitleid zu fiihlen. Lebenden diirfe er sich aber nicht nach Eurydike umwenden und ihr den Gmnd seines Handelns mit Orpheus fragt die Geister, ob ihnen das Sehnen eines keinem Wort erklaren. liebenden Herzens bekannt sei.
Amor gemahnt Orpheus damn, dass sein Leid bald Der Gesang hat die Geister geNM, die nun den Weg ein Ende haben werde, wenn er in seinem Vorhaben zu den Gefilden der Seligen freigeben. standhaft bleibe. Szene 2 Orpheus ist ubergliicklich, sieht aber Eurydies tD Landschaft mit griinen Hainen, blumigen Wiesen, Verzweiflung angesichts des von ihm verlangten Fliissen und Bkhen. Orpheus sieht sich umgeben von den 11 8.660064 seligen Geistem der Verstorbenen. Eurydike glaubt, vom Frieden des Todes in ein Leben Elysische Heiterkeit udangt ihn. Aber noch hat er voll Schmen znriickgekehrt zu sein. Eurydiie, das Ziel seiner Sehnsucht, nicht gefunden. @I Orpheus kann die Vonviirfe Eurydiies nicht ranger El Die seligen Geisterpreisen Orpheus' Treue. ertragen und wendet sich ihr zu. Als er sie anblickt, stirbt sie. Tanz der seligen Geister Orpheus beklagt den emeuten Tcd Eurydii. H Orpheus envartet voll Ungeduld Enrydiie, die nun erscheint. H Orpheus wird nur noch von einem Wunsch beseelt: Eurydiie in den Hades zu folgen. Eine Schar von Heroinen geleitet Eurydike zu Orpheus. Er ergreift ihre Hand und fiihrt sie eilig himweg. Szene 2 PIS Orpheus aus dem Leben scheiden will, eilt Amor Dritter Akt herbei, enhvendet ihm die Waffe und belohnt ihn fijr seine Szene 1 Liebe und Standhaftigkeit, indem er die Entschlafene E131 Orpheus fiihrt Eurydike an das Licht des Tages. ohne noch einmal zu neuem Dasein enveckt. sich nach ihr umzuwenden. Sie ist zunachst entziickt, dann aber vermisst sie die Z;irtlichkeit des Gatten. Doch Szene 3 Orpheus bleibt standhaft und fiiM sie weiter. @j Auf ein %then Amors venvandelt sich die Szene in den Tempel des Liebesgottes, wo Orpheus mit Nymphen Enrydiie leidet unter der vermeintlichen und Sch'dfem die Macht Amors und die Riickkehr Gefiihllosigkeit ihres Gatten, Orpheus unter ihrem Eurydiies besigt. Zweifel an seiner Liebe.
Eurydike fiirchtet sich vor ihrem zuklinftigen Los; nicht langer want sie sich den Leiden der Menschen Keith Anderson gewachsen. Deutsche Fassur~g:Bernd Delfs Christoph Willibald Gluck (1714-1787) Orfeo ed Euridice Fils d'un forestier qui B partir de 1727, fut au service du trajectoire pour l'optra, renonGant dtsormais aux prince Philipp Hyazinth von Lobkowitz, Christoph conventions de I'opera seria en faveur d'une silnplicitt Willibald Gluck naquit en 1714 et passa son enfance nouvelle et d'une certaine mesure de rCalisme thtStral. dans sa Bohkme natale, aux traditions musicales bien Le premier rbsultat du travail conjoint de Calzabigi, ancrtes. I1 Ctudia B I'universitt de Prague tout en Angiolini et Gluck, sur les encouragements du comte poursuivant ses propres activitts musicales, et arriva B Durazzo, fut Orfeo ed Elrridice. I1 devait y avoir deux Vienne en 1734, sans doute gr2ce au patronage de la autres optras a de la r6forme >> avec Calzabigi, en 1767 famille Lobkowitz. Suivit une ptriude en Italie, Alceste (Naxos 8.66066-68) et en 1770 Paride ed principalement B Milan, pendant laquelle il commenga Q Elerra. Entre 1774 et 1779, Gluck connut un succks se forger une rtputation de compositeur d'optra. C'est considtrable B Paris, oB une version fran~aised'0q"eo peut-&tregrsce B ses relations avec la famille Lobkowitz ed Errridice fut montte en aoiit 1774, ainsi qu'une qu'il se retrouva B Loudres en 1746, avec la mission de adaptation d'Alceste deux ans plus tard. L'tchec de son foumir des optras au King's Theatre, et les anntes Eclro et Nurcisse d'aprks Ovide et sa mauvaise sautt le suivantes le virent travailler dans diverses villes ramenkrent B Vienne en 1779 et il y demeura jusqu'l sa d'Europe. En 1750, il se maria i Vienue ; au cours des mort en 1787. anntes qui suivirent, il Ccrivit des optras sur des livrets Plus tard, Gluck reconnut que Calzabigi ttait i de Mttastase pour Vienne, Prague, Naples et Rome, l'nrigine d'Oifeo ed Etrridice, jugement avec lequel le tout en occupant d'abord le paste de Korrzertrneister librettiste ttait lui-m&me entikrement d'accord. puis de Kapellr~reister du prince de Saxe- Calzabigi insistait beaucoup sur le lien entre optra et Hildburghausen. Pour ce mCcbne, il mit en musique le dtclamation, ce qui d'une certaine fa~onconstituait un livret de Le cirresi, dont une somptueuse reprtsentation retour aux origines de cette forme, lorsque au XVIB lui valut une belle gratification de l'empereur, ce qui sibcle elle Ctait associie i la rhttorique. Dans son l'introduisit dans les cercles royaux. Pendant la introduction B I'ouvrage, il explique avou transpost la dCcennie suivante, il collabora avec le comte Durazzo, scene de la mort d'Eurydice de Thrace Q la Campanie, qui avait ttt nommt en 1754 B la tete des deux pr2s de la fameuse entrCe des Enfers au bord de principaux thtitres de Vienne, notammeut pour I'Aveme, prtservant ainsi I'unitt de lieu recommandte l'adaptation d'optras comiques fran~ais. par Aristote. De plus, il modifia la Itgende, dans Cette collaboration fut trks importante B la fois pour laquelle OrphCe perd Eurydice en dtsobtissant B Gluck et pour l'histoire de I'optra. En 1755, il devint I'interdiction de la regarder avant d'avoir quittt les compositeur de la cour et en 1759 compositeur de Enfers, se conformant B la conclusion heureuse en cours ballets, avec I'aunCe suivante la responsabiiitt de la B I'tpoque et tvitant la fin plus cruelle que soulignent musique de scbne. En 1761, il collabora avec le danseur ses sources classiques, les Gtorgiques et I'Entide de et maitre de ballet Gasparo Angiolini pour nn nouveau Virgile. Lors de la criation, do~tele 5 octobre 1762 au ballet d'uctiorl, ballet comportant nne intrigue suivant la Burgtheater de Vienne, le r6le d'Orphte Ctait tenu par le mode d'alors ; ce fut Don Jrtmr, orr Le festirr cle pienr. castrat Gaetauo Guadagni, avec Marianna Bianchi en L'arrivte B Vienne cette annte-li de Ranieri Eurydice et Lucile Clavereau en Cupidon. de' Calzabigi fut Ie declencheur d'un changement de Synopsis
[iI La vive ouverture Bvoque bribvement des BIBments Acte I1 du drame qui se noue. Scene 1 fB La scbne se dkroule dans les terribles grottes Acte I d'Hadbs. Des furies et des spectres extcutent leur danse Schne 1 infernale, interrompus par le son de la lyre d30rphBe. [21 Sur une musique solennelle, le lever du rideau rBv&leune clairibre de lauriers et de cyprks isolk, avec Dl Les spectres cherchent B apprendre le nom de celui la tombe d'Eurydice, autour de laquelle des nymphes et qui ose pBnBtrer en leur royaume sur les traces des htros ' des bergers se lamentent, tandis qu'OrphBe appelle sa Hercule et Pirithoos. hien-airnee. Ils reprennent leur danse. [31 Dans un ricitatif, OrphBe renvoie ses compagnons pour pouvoir pleurer seul. H Les spectres ditbrent leur question et invoquent les EumBnides et Cerbbre pour repousser ce mortel, si c'en [41 Les nymphes et les bergers poursuivent leur danse est un. de deuil. Ils reprennent leur danse. [51 Leurs lamentations s'achbvent et ils se dispersent. OrphBe cherche B apaiser les Furies et les spectres. [F1B Orphte appelle le nom de sa chbre Eurydice, pleurant sa disparition. Ses adjurations les calment un peu et ils lui demandent ce qu'il cherche. I1 invective ambrement les puissances des Enfers. Orphte declare que, comme les esprits des Enfers, Scene 2 11 est une Bme en proie B ses tourments. Le dieu de l'amour parait, lui offrant son aide. Orphte sera autorist B ramener Eurydice du royaume Les spectres se montrent plus accommodants. des morts, s'il parvient, avec sa musique, B apaiser les furies et les esprits des Enfers. En revenant avec elle, il OrphCe continue de les supplier, au nom de l'amour ne doit pas se retourner pour la regarder le suivre, ni lui qu'ils ont peutdtre connu un jour. expliquer son comportement. Eil Entikrement pacifies, les spectres s'effacent et E3 L'Amour eujoint OrphCe d'obbir B cet tdit, lui permettent B Orphte de passer les portes de leur rappelant que ses souffrances seront temporaires et que royaume. Ils se dispersent. les amants n'ont pas toujours besoin des mots. Scene 2 il$ OrphBe est fou de joie, mais pense aux difficultCs h La sc&nelaisse place B une campagne verdoyante, venir : Eurydice sera forcement surprise de son attitude avec des prairies parsemtes de fleurs, des charmilles et indiiBrente. de mtlodieux ruisseaux. Orphte est accueilli par les htros et les htrdines antiques. Coups de tonnerre et foudre. n part. 8.660064 14 Orphee est ravi, mais I'Elysle n'est pas pour lui : @I Elle est passde de la mort 1 cette souffrance. son paradis est Eurydice, qu'il essaie de retrouver. Eurydice snpplie Orphte, qui hit par cider. II se @# Les heros et les h6rolnes louent I'exemple retoume et elle meurt. courageux d'Orph6e. &# Orphde pleure sa bien-airnee, morte une deuxibme Ils dansent. fois.
OrphCe est impatient de voir Eurydice, qui parait Tout ce qu'il souhaite h present, c'est la suivre au alors. royaume d'Hadbs pour traverser le Styx ses catis.
Elle est accompagnee d'herolnes antiques et Scene 2 Orphde lui prend la main, I'entratnant aussit6t B sa suite. Alors qu'il est sur le point de se donner la mort, 1'Amour intervient, le dismant et ~Ccompensantson Acte III amour et sa constance. Eurydice vivra de nouveau, et Scene 1 elle ressuscite, comme si elle s'eveillait d'un profond Orphke guide Eurydice sur le chemin menant au sommeil. 11s sont maintenant r6unis. monde des vivants, sans jamais la regarder. Elle est d'ahord ravie, puis troubl6e et furieuse de voir que son Sdne 3 Cpoux ne I'enlace pas et ne lui accorde meme pas un Sur un signe de Cupidon, la scbne devient soudain regard. ll demeure imperturbable, continuant B mener le temple de I'amour, oh les nymphes et les bergers leur marche. cilbhrent le retour d'Eurydice tandis qulOrphbe se joint B leurs r6jouissances. !B! Tous deux sont boulevers6s par cette situation ; Eurydice h cause de I'apparente indii6rence de son 6poux, Orph6e par les sollicitations trop insistantes de sa femme.
Eurydice pressent un malheor et declare qu'elle Keith Anderson n'est plus habitude aux tracas des vivants. Versionfranqaise :David Ylla-Somers Christoph Willibald Gluck (1714-1787) Orfeo ed Euridice
Dl Overtura [il Overture
ATTO PRIM0 ACT I Scena I Scene I Arrrerro, rrra solitario bosclretto di allori e cipressi, clre, A pleasarrt brrt larrel), grow of Irno'el ar~dc)press tlrat , ad arte diradato, rucchirrde in lrrr piccolo piano la encloses, irr a clearbrg, tlre torizb of Ertrydice, on a tarrrba di Errridice. wised dais. All'alzar della terrda, a1 srrorro di ~rrestasirforria, si As t11e crrrtairr rises and sod rrrssic is heard, the sede occrrpata la sceno da roro strrolo di Pastori e Nirfe, stage is revealed, occrrpied by a gmrrp of sl~epherds segrraci di Orfeo, clre portorlo serti difiori e glrirlarrde arrd rryrr~phs,folloi~~ers of Orpherrs, it'lro carry ~~reatl~s di s~irto;e, rrrerrtre srm parte di low arder fa de' offoisers arrd garlands of rr~yrtle;and, it'lrile sorrie of profrrrni, incorvrta il rimrrno e spargefiori i~~tonroalla tlrerrr brrrr~incense, place garlands or1 tlre rizurble tonrb torrrba, irrtsorm I'altro il Segrrer~tecoro, interrotto dai ar~d scatter f[o~vers over it, tlre otlrers sirrg the lanrerrti di Orfeo, clre, disteso slrl dalonti sopra di rrrr folloiidr~g chorrrs, ir~terrlrpted 0)' the Iarrrerrrs of sasso va di terrrpo in rerr~po replicarrdo Orpl~ess,nho, stretched orrt on a rock, fro111 tinre to appassior~atarrrer~teil rro!ire di Errridice. tirire passiormtely repeats tlre rrarrre of Eroydice.
Coro Chorus Ah! se intolno a quest'urna funesta, Ah, if about this sad urn, Euridice, ombra bella, t'aggiri, Eurydice, fair shade, you wander,
Orfeo Orpheus Euridice! Eurydice!
Coro Chorus Odi i piaoti, i lamenti, i sospiri hear our plaints, laments, sighs, Che dolenti si spargon per te. that grieving we pour out for you.
Orfeo Orpheus Euridice! Eurydice!
Coro Chorus Ed ascolta il tuo sposo infelice And listen to your unhappy husband, Che piangendo ti chiama e si lagna; who weeping calls to you and complains.
Orfeo Orpheus Euridice! Eurydice! Chorus Come quando la dolce compagna As when the loving turtle-dove Tortorella amorosa perdb. lost her sweet companion.
[31 Recitativo @I Recitative
Orfen Orpheus Basta, basta, o compagni! Enough, enough, my companions! I1 vostro duolo aggrava il mio! Your grief makes mine the worse! Spargete purpurei fiori. Scatter purple flowers, Inghirlandate il marmo, garland the marble tomb, Partitevi dame! leave me! Restar vogl'io solo I would remain alone Fra quest'ombre funebri e oscure among these funereal dark shades Coll'empia compagnia di mie sventure! with the merciless company of my misfortunes!
[41 Ballo I41 Ballet
[51 Cnru Q Chorus Ah! se intorno a quest'uma funesta Ah, if about this sad urn, Euridice, ombra bella, t'aggiri, Eurydice, fair shade, you wander, Odi i pianti, i lamenti, i sospiri, hear our plaints, laments, sighs, Che dolenti si spargou per te. that grieving we pour out for you.
(Tlrefie~eraldances cease. Tl~e).all lea~~e.)
Aria 161 Aria
Orfeo Orpheus Chiamo il mio ben cosi So do I call my beloved Quando si mostra il di, when day appears, Quando s'asconde! when it hides itself! Ma, oh vano mio doloi ! But, oh, vain is my sorrow! L'Idol del mio cor The Idol of my heart Nou mi risponde. answers me not. LII Recitativo Ifl Recitative Euridice! Euridice! Eurydice! Eurydice! Ombra cara, ove sei? Dear shade, where are you7 Piange il tuo sposo, Your husband weeps, Ti domanda agli Dei demands you of the Gods, A' mortali ti chiede seeks you among mortals, E sparse a' venti and scattered to the winds 17 8.660064 Son le lagrime sue, are his tears, I suoi lamenti! his laments!
Aria L8] Aria Cerco 11 mio ben cosi So I seek my beloved, In queste, ove mod, where she died, on these Funeste sponde. sad shores, Ma sola al mio dolor, but to my sorrow, Perch6 conobbe amor, because she knew love, L'eco risponde. only Echo replies.
191 Recitativo 191 Recitative Euridice! Euridice! Eurydice! Eurydice! Ah, quest0 nome Ah, this name san le spiaggie, e le selve the sea-shore knows, and the woods I'appresero da me! learned from me! In ogni valle In every valley Euridice risuona: the name Eurydice resounds: in ogni tronco on every tree scrisse il miser0 Orfeo: wretched Orpheus has written: Orfeo infelice, Unhappy Orpheus, Euridice, Idol mio, Eurydice, my Idol, Cara Euridice! dear Eurydice! rn Aria rn Aria Piango il mio ben cosi, So do I weep for my beloved, Se il sole indora il di, if the sun gilds the day, Se va nell'onde. if it sinks down in the sea. Pietoso al pianto mio Pitying my complaint Va mormorando il rio the river murmurs on E mi risponde. and answers me.
[iil Recitativo Recitative
Orfeo Orpheus Numi! barbari Numi! Gods! Cruel Gods! D'Achemnte e &Averno pallido abitator, Pale dweller of Acheron and Avernus, La di cui mano avida delle morti whose hand, greedy for death, Mai disarmb, mai trattener was never held back, never restrained Non seppe beltti ne gioventil, by beauty nor by youth, Voi mi rapiste la mia hella Euridice - you have seized from me my fair Eulydice - Oh memoria crudel! - sul fior degli anni! oh cruel memory! -in the flower of her years! La rivoglio da voi, Numi Tiranni! I want her back again from you, tyrant Gods! 8.660064 18 Ho core anch'io per ricercar I too have the heart to seek her Sull'orme de' pih intrepidi Eroi, in the footsteps of the bravest heroes Nel vostro orrore la mia sposa, in your dreadful realm, my wife, n mio ben! my beloved!
Scena II Scene I[ Anlore e deffo. Love arrd the aforesaid Recitative
Amore Love T'assiste Amore! Love will help you! Orfeo, della tua pena Orpheus, for your pain Giove sente pieti%. Jove feels pity. Ti si concede le pigre He allows you the sluggish Onde di Lete vivo varcar! waves of Lethe to cross alive! Del teuebroso abisso sei sulla via: You are on your way to the dark abyss: Se placar puoi col canto le furie, if you can placate with song the furies, I mostri, e l'empia morte, monsters and merciless death, A1 giorno la diietta Euridice to the daylight again your beloved Eurydice Far&teco ritomo. wiU return with you.
Orfeo Orpheus Ah come? Ah, quando? Ah how? Ah when? E possihil sari%? Is this possible? Spiegati! Explain!
Amore Love Avrai valor che basti Do you have courage enough A questa prova estrema? for this extreme test?
Orfeo Orpheus Mi prometti Euridice, You promise me Eurydice, E woi ch'io tema? and you want me to be afraid?
Amore Love Sai perd con qua1 patto Know, then, on what condition L'impresa hai da compir. you must carry out this enterprise.
Orfeo Orpheus Farla! Speak! Amore Love Euridice ti si vieta il mirar It is forbidden you to look at Eurydice, Finchi: non sei fuor dagli antri di Stige! until you are outside the Stygian caves! E il gran divieto rivelarle nou dei! And you must not reveal to her this great prohibition! Se no, la perdi e di nuovo e per sempre; If not, you lose her again for ever; E in abbandono al tuo fiero desio and abandoned to your fierce desire Sventurato vivrai! you shall live unfortunate! Pensaci, addio! Think on this, farewell! ijl Aria Aria
Amore Love Gli sguardi trattieni, Restrain your looks, Affrena gli accenti, rein back your words, Rammenta se peni, remember if you suffer, Che pochi momeuti you have only a few moments Hai pih da penar! more to suffer! Non sai che talora You do not know that sometimes Smaniti, tremanti lovers are blind, Con chi gl'imamora bewildered, trembling, Son ciechi gli amanti, with those they love Non sanuo parlar. and know not how to speak. (parte) (He lea~*es.) lI4! Recitative I@! Recitative
Orfen Orpheus Che disse? che ascoltai? What did he say? What did I hear? Dunque Euridice vivri, That Euwdice shall live. L'avri, presente! I shall h&e her here again! E dopa i tanti affanni miei, And after such sufferings, In quel momento, in that moment, In quelia guerra d'affetti, in that war of feelings, lo non dovri, mirarla, I must not look at her, Non stringerla al mio sen! must not clasp her to my bosom! Sposa infeEce! Unhappy wife! Che diri mai? che penseri? What will she say? What will she think? Preveggo le smanie sue, I foresee her agitation, Comprendo I'augustie mie! I understand @own distress! Nel figurarlo solo Only imagining it Sento gelarmi il sdngue, I feel my blood freeze, Tremarmi 11 cor! my heaa tremble! Ma lo potri,! Lo voglio! But I can do it! I will! 8.660064 Ho risoluto! I1 grande, I have decided! The greatest, L'insofiiibil de' mali b I'esser privo most unbearable of evils is to be deprived Dell'unico dell'alma amato oggetto. of the single object beloved of the soul. Assistetemi, o Dei, la legge accetto. Help me, 0 Gods, I accept your ling.
(Si vede un lampo, si sente rift htono, E' (There is aflnsli of lighti~irigand the sound e parte Orfeo) of thunder, and Orpheus lea~pes.)
Scena I Scene I Orride cave~nedi Id delfl~tmeCocito, o@scato poi in Terrible caverrts beyorid Be river Coc~~tlts,darkened ill loiztariar~zada un tenebroso fi111t0, illztminato dalle the distance by thick smoke, lit by theflames thntfill all jiarnrne clte ingoinbrarto tutta quella orrida abitazione. that terrible dn'ellir~g. Apperta carigiata la scena, a1 suorto di orribile Hardly has the scene chaiiged, when, to the sound siizfonia cornincia il ballo delle Furie e pettri, clie viene of terror-inspirirtg niltsic, the ballet of the Furies and interrofto dalle armorzie della lira d'Orfeo: il quale Ghasts begins, interiupted by the nzzrsic of the lyre of comparertdo poi stilla scena, httta quella htrba Orphetis: as he appears 011 tlte stage, the cvhole inferrtale inhtoiza il seguente. irzferrial troupe sirigs the follon~iiig: Ballo B Ballet
Ei Coro @i Chorus Chi mai dell'Erebo Who through the darkness Fra le caligini, of Erebus, Sull'orme d'Ercole ever follows the footsteps E di Piritoo of Hercules Conduce il pib? and of Pirithous? IBallo rn Ballet I Coro IChorus Chi mai deU'Erebo Who through the darkness Fra le caligini, of Erebus, Sull'ome d'Ercole ever follows the footsteps E di Piiitoo of Hercules Conduce il piC? and of Pirithous?
D'orror l'ingombrino May the fierce Eumenides Le fiere Eumenidi, envelop him in tenor E lo spaventino and the cries of Cerbems Gli urli di Cerbero, terrify him, Se uu Dio non b. if he is not a God. 21 (Gli Speftri ripigliano le daaze, (The Ghosts dance again, girando intorno ad O~feoper spase~e,ttnrlo.) circling arorrnd Orpherrs to terrifi him.) @IBallet Orfeo Orpheus Deh! placatevi con me. Ah! Be Still. Furie! Larve! Ombre sdegnose! Furies! Spirits! Angry shades!
Coro Chorus No! ...No! ... No! No! ...No! ... No! Orfeo Orpheus Vi renda almen pietose Have pity at least I1 mio barbaro dolor. on my cruel sorrow. Coro H Chorus (raddolcito e con espressiorre di qrralcl~e (moll@ed and with espressio~rofsor~ie pi@) co~npatimento) Misero giovine! Wretched young man! Che vuoi, che mediti? What do you want, what are you thinking off Altm non abita No other lives here Che lutto e gemito than mourning and weeping In queste orribili in these terrible Soglie funeste! gloomy regions!
[i31 Aria El Aria
Orfea Orpheus Mille pene, ombre moleste, A thousand pains, angry shades, Come voi soppoao anch'io; like you I also suffer; Ho con me I'infemo mio, I have my own hell within me Me lo sento in mezzo a1 cor. and feel it in my very heart.
Coro Chorus (COIIlnaggior dolceun) (furthermollifed) Ah quale incognito Ah what unknown Affetto flebile, feeling plaintive Dolce a sospendere comes gently Vien l'implacabile to take away Nostro furor? our implacable anger? @3 Aria @3 Aria
Orfeo Orpheus Men tiranne, ah! voi sareste Ah less cruel you would be A1 mio pianto, a1 mio lamento, at my plaint, my lament, Se provaste un' sol mornento if you experienced for only a moment Cosa sia languir d'amor! what it is to languish for love!
Coro @3 Chorus (serupre pi2 raddolcito) (ever more gerztl)') Ah quale incognito Ah what unknown Affetto flebile, feeling plaintive Dolce a sospendere comes gently Vien I'implacahile to take away Nostro furor? our implacable anger?
Le porte stridano Let the gates creak Su i neri cardini on their black hinges E il passo lascino and leave the way Sicuro e libero secure and free A1 vincitor! to the conqueror!
Co~ninciano a ritirarsi le Furie ed i Mostri, e Tl~eFuries and Monsters start to ndtltdran~,o~td as tlze), dileg~rar~dosipererrtro le scene, ripetono l'irltirrm strofa leave the stage, !/ley repeat the last verse of tlie cl~ortrs, del coro, clze cor~tintta~~dosenzpre frattanto, clze si that co~rtinuesin the ~~tea~rtir~te,as tlzey nzove into the allo~itanatro,fi,liscehz ra1 co~rfrrsoetor~~rorio. Sparite le distar~cerrr~d ends in a co~qifirsednlirrnnir. 1Vlte11the Arrie, sgon~bratii Mostri Orfeo s'aia~zza~tell'ir~$er~zo. Furies and Mor~sters11aia gone, Orpheus ad~~ances hto Hades.
Scena 11 Scene U Paesnggio delizioso per i boschetti clte verdeggirn~o,i A delightfrrl corottryside, ~8itl1i~erdarrt groses,floluers .fiori. . che rivestono i nmti. i ritiri ontbrosi clze 11; si colarit~g tlte ~~~eadot~~,shady arboirrs, rivers and scrropro~~o,ijiirnzi ed rrrscelli clte lo bag~~mto.Orjeo, brooks. Orpheirs, arfd then a Cl~orirsof Heroes and e hidi Coro di Eroi ed Eroine, poi Ellridice. Heroines, tl~enErr~ydice.
Ballet
@$ Aria iZJ Aria
Orfeo Orpheus Che poro ciel, che chiaro sol, How pure the sky, how bright the sun, Che nuova serena luce B questa mai! how new and serene this light! Che dolce lusinghiera armonia What sweet gratifying harmony 23 8.660064 Formano insieme are brought together by I1 cantar degli augelli, the singing of the birds, I1 cori-er de' mscelli, the mnning of the brooks, Dell'aure il sussurrar. the murmur of the breezes. Questo b il soggiomo This is the dwelling-place De' fortunati Eroi! of fortunate Heroes! Qui tutto spira Here all breathes Un tranquillo contento, a tranquil contentment, Ma non per me. but not for me. Se I'idol mio non trovo, If I do not find my idol, Sperar no1 posso! I can have no hope! I suoi soavi accenti, Her gentle words, Gli amorosi suoi sguardi, her loving looks, I1 suo be1 riso, her fair smile, Sono il mio solo, are mine alone, I1 mio diletto Eliso. my own beloved Elysium. Ma in qua1 parte sari? But where will she be? (grrardarrdo per la Scesa) (lookbrg arorrnd) Cbiedasi a questo Let me ask this happy band Cbe mi viene a incontrar, stuolo felice. that comes to meet me. (irroltrarrdosi verso il Coro) (trrrrrirrg to the cho1.11~) Euridice dov'b? Where is Eurydice?
Coro Chorus Giunge Euridice. Eurydice is coming.
Coro Chorus Vieni a' regni del riposo, Come to the realms of repose, Grand' eroe, tenero sposo great hero, tender husband Raro esempio in ogni eti! rare example in every age! Euridice Amor ti rende, Love gives you back Eurydice, Gii risorge, gii riprende already she recovers, assumes again La primiera sua belti. her first beauty. (segue il ballo degli Eroi) (Tlrerefollo~vs Le ballet of tlre Heroes.)
Ballo Ballet
!3l Recitativo Recitative
Orfeo Orpheus Arririte a~?arrtrirose, Brave spirits, Ah, tollerctre in pace ah, bear in peace le inrpazieitze rnie! my impatience! 8.660064 Se foste amanti, If you were lovers, Conoscerete a prova you yourselves would know Quel focoso desio, that burning desire, che mi torments, that torments me, che per tutto B con me. that is always with me. Nemmeno in questo Not even in this Placido albergo calm resting-place Esser poss'io felice, can I be happy, Se non trovo il mio bene. if I do not find my beloved.
Coro Chorus Ecce Euridice! Here is Eurydice!
Coro €3Z Chorus Toma, o bella, al tuo consorte, Turn, 0 fair one, to your husband, Che non vuol che pih diviso Merciful heaven no longer Sia da te, pietoso il ciel. wishes you to be parted from him. Non lagnarti di tua sorte, Do not lament your lot, Che pub dirsi un altro Eliso for a husband so faithful, Uno sposo si fedel. may be descibed as another Elysium,
Da zrrr coro di Eroirre ,lien caridotta Ertridice vicino ad Errrydice is led to Orpheas by a clrorrrs of Heroirres. Or feu, il quale, serrza grrardarla e coiz mr atto di sorrrrrla He, n~iflrorrtlookirrg at her and wit11 tlre greatest haste, prenrura, la prerzde per rrmno e la coriduce srrbito via. takes her hand and leads her quickly anray. Tlre ballet Segrrita poi il balla degli Eroi ed Eruirre, e si ripiglia il of the Heroes and Heroines follo~r,sarid the sorrg of the carrto del Cora slrpposto corrtbrrrarsifino a tanto che clrarrrs corrtirrlres rrrztil Orplrerrs and Errrydice are Orfeo ed Errridice sorro affattafrrora dagli Elisi. corrrpletel)~orit of E1)~sirrnr.
ATTO TERZO ACT 111 Scena I Scene I Osc~rra spelonca, che forrrra rrrr tortrrosa Iaberirrto A dark care, tlrat fonr~s a hvistirrg labyrirrtlr, irrgo~rrbratodi n~assistaccati dalle rrrpi, clre sorro trrtti errc~rnrberedisith oritcrops of rock, co~~eredwith coperti di sterpi e dipiarrte seliraggie. O$ea ed Ertridice. brrtsh~toodand wildplants. Orplrerrs and Eirrydice.
Recitativo E131 Recitative
Orfeo Orpheus (ad Errridice, che cortdzrce per nrarro, (to Errrydice, lorn he leads by the horrd, serrrpre serrza guardarln) ahtaays ~vitlrorrtlookirrg of her) Vieni: segui i miei passi, Come: follow my steps, Unico, amato oggetto sole, beloved object Del fedele amor mio! of my faithful love! 25 8.660064 Euridice Euridice (con sorpresn) (xdtl~srrrprise) Sei tu! M'inganno? Is it you! Am I deceived? Sogno? Veglio? 0 deliro? Do I dream? Do I wake? Or do l rave?
Orfeo Orpheus (cor~j?ettaJ (111rrriedlj~) Amata sposa, Beloved wife, Orfeo son io, e viva ancor! I am Orpheus, and I am still alive! Ti venni fin negli Elisi a ricercar. I came to seek you out again in Elysium. Fra poco il nostro cielo, Soon shall you see again I1 nostro sole, il mondo our sky, our sun, Di be1 nuovo vedrai! the world.
Euridice Eurydice (sospesn) (crrrrio11s) Tu vivi? 10 vivo? You are alive? I live? Come? Ma con qua1 me? How? But by what artfulness? Ma per qua1 via? By what means?
Orfeo Orpheus Saprai tutto da me. You will learn it all from me, Per ora non chieder pih! Now do not ask more! Meco t'affretta, Huny with me, E il vauo importuno and have vain importunate Timor dall'alma sgombra! fear vanish from your soul! Ombra tu pih non sei, You are not a shade any more, Io non son ombra. I am not a shade.
Euridice Eurydice Che ascolto! E sari ver? What do I bear! Is it true? Pietosi Numi Merciful Gods Qual contento B mai questo! what contentment is this! Io dunque in braccio all'idol mio In the arms of my idol Fra' pih soavi lacci amid the gentle snares D'Amore e d'lmeneo of Love and Hymen Nuova vita vivrb! shall I live a new life!
Orfeo Orpheus Si, mi speranza! Yes, my hope! Ma tronchiam le dimore, But let us not delay. Ma seguiamo il cammin. But let us follow the way. Tanto b cmdele la fortuna con me, So cruel has been my fortune 8.660064 Che appena io credo di pussederti, that I hardly believe I have you, Appena sb dar fede a me stesso. I hardly trust myself. Euridice Eurydice (mesta e risentita, (sad and offended, ritirando lo mano & Orfeo) withdrawing her handfrom Orpheus) E un dolce sfogo del tenero amor mio And a gentle expression of my tender love Nel prim0 istante che tu ritrovi me, in the first moment that you fmd me again, Ch'io ti riveggo that I see you again, T'annoja, Orfeo! irritates you, Orpheus! Orfeo Orpheus Ah, non t ver, ma.. . Ah, it is not true, but ... Sappi.. .senti.. . I want you to know ...listen! ... (Oh legge crudel!) (Oh cruel ruling!) Bella Euridice, Fair Eurydice, Inoltra i passi tuoi! hasten your steps! Euridice Eurydice Che mai t'affanna What womes you In si lieto momento? at such a happy moment?
Orfeo Orpheus (Che dim? (What shall I say? Lo preveddi! I foresaw it! Ecco il cimento!) This is my trial!)
Euridice Eurydice Non m'abbracci? Non parli? You do not embrace me? Not speak to me? Guardami almen. Look at me, at least. (tirandolo, perch2 lo guardi) (pulling him, to make him look at her) Dimrni, son bella ancora, Tell me, am I still beautiful Qual era un dl? as I once was? Vedi, che forse t spento See, has perhaps the rosy colour I1 mseo del mio volto? gone from my face? Odi, che forse s'oscurb Listen, has that which you loved Quel che amasti, and called sweet, E soave chiamasti, the splendour of my glances? Splendor de'sguardi miei? Been dimmed? b Orfeo Orpheus (Pia che l'ascolto, (The more I listen, Men0 resisto. the less I resist. n Orfeo, coraggio!) Orpheus, have courage!) Andiamo, mia diletta Euridice! Let us go, my beloved Eurydice! Or non 1: tempo Now is not the time Di queste tenerezze, for these acts of tenderness, Ogni dimora 6 fatale per noi. every delay is fatal for us.
Euridice Eurydice Ma ... un guardo solo!.. But ... only alook! ...
Orfeo Orpheus E sventura il mirarti. It is unlucky to look at you.
Euridice Eurydice Ah! infido! Ah! Faithless! E queste son le accoglienze tue! And this is your welcome! Mi nieghi uu sguardo, You deny me a look, Quando dal car0 amante when from my dear lover, E dal tenero sposo and tender husband Aspettarmi io dovea I should expect Gli amplessi e i haci! embraces and kisses!
Orfeo Orpheus (Che harbaro martir!) (What cruel torment!) Ma vieni e taci! But come and be silent! (Sentendola l'icirta prerlde la stra rrmrlo (Feeling her near hbrt he takes her e vrcal condrw1o.j harld arrd tries to lead her.)
Euridice Eurydice (ritira la rrmrro corr sdegno) (disdairy'irll~~~t'itlrdmn'ing her harrd) Ch'io taccia! E questo ancora I must he silent! Mi restava a soffrir? And I came back to suffer this? Dunque hai perduto Have you lost La memoria, I'amore, memory, love, La costanza, la fede? constancy, faith? E a che svegliarmi del mio dolce riposo For what did I waken from my sweet repose Or ch'hai pur spente since you have extinguished Quelle a entrambi si care d'Amore those chaste torches so dear e d'lmeneo pudiche faci! to Love and to Hymen! Rispondi, traditor! Reply, betrayer!
Orfeo Orpheus Ma vieni, e taci! But come, and be silent! Duetto Duet
Orfeo Orpheus Vieni: appaga il tuo consorte. Come: do as your husband wants.
Euridice Eurydice No: pih cara B a me la mofle, No: dearer to me is death che di vivere con te! than to live with you!
Orfeo Orpheus Ah crudel! Ah, cruel!
Euridice Eurydice Lasciami in pace! Leave me in peace!
Orfeo Orpheus No, mia vita, omhra seguace No, my life, a shadow Verd sempre intorno a te! always shall I follow you!
Euridice Eurydice Ma perch6 sei si tiranno? But why are you so tyrannical? Orfeo Orpheus Ben potrb morir d'affanno, I could well die of anxiety Ma giammai dirb perchi. but never will I say why.
Orfeo ed Euridice Orpheus and Eurydice Grande, o Numi, B il dono vostro! Great, 0 Gods, is your gift! Lo conosco e gratolgrata io sono! I know it and I am thankful! Mail dolor, che unite a1 dono, But the grief that goes with the gift h insoftiibile per me! is unbearable for me!
(Nel terminare il duetto, ambedue, ciascuno (At the end of the duet, each offhen, dalla sua parte, si appoggiano ad rcn olbero.) leans against a tree.)
El Recitative
Euridice Eurydice Qua1 vita B questa mai, What life is this Che a vivere incomincio! that I begin to live! E qua1 fnnesto, And what dreadful, Tembile segreto temble secret Orfeo m'asconde! is Orpheus hiding from me! 29 Perchb piange, e s'afflige? Why does he weep and grieve? Ah, non ancora troppo Ah, I am still too Avvezza agli affanni, unaccustomed to the troubles Che soffrono i viventi, that the living suffer, A si gran colpo at such a blow Manca la mia costanza; my constancy fails; Agli occhi miei before my eyes Si smanisce la luce, the light grows dim, Oppresso in seno, weighed down in my bosom Mi diventa affannoso il respirar. my breathing is troubled. Tremo, vacillo, e sento I tremble, I hesitate, and feel Fra l'angoscia e il terrore, in deep anxiety and terror Da un palpito crude1 vibrarmi il core. the cruel beating of my heart.
@j Aria lB Aria
Euridice Eurydice Che fiero momento! What a cruel moment! Che barbara sorte! What harsh fate! Passar dalla morte To pass from death A tanto dolor! to such sorrow!
Avvezza a1 contento Accustomed to the contentment D'un placido oblio, of peaceful oblivion, Fra queste tempeste amid these storms Si perde il mio cor. my heart is lost.
Vacillo, tremo.. . I hesitate, I tremble ... Recitative
Orfeo Orpheus ECCOun nuovo tormento! Here is a new torment!
Euridice Eurydice Amato sposo, Beloved husband, M'abbandoni cosi? do yon abandon me so? Mi struggo in pianto; I am distraught with weeping; Non mi consoli? will yon not comfort me? 11 duo1 m'opprime i sensi, Grief weighs down on my senses, Non mi socconi? will yon not help me? Un'altra volta, oh stelle, 0 stars, once again Dunqne morir degg'io, must I die 8.660064 Senea un amplesso tuo, without your embrace, Senza un addio! without a farewell!
Orfeo Orpheus Pih frenarmi non posso. I can restrain myself no longer. A poco a poco Little by little La ragion m'abbandona, reason deserts me, Oblio la legge, I forget the ruling, Euridice, a me stesso! E... Eurydice, and myself! And.. . (in alto di ~altarsie poi perftito) (oborrt to trmr routrd arrd tlren clrarrgbrg his eriad)
Euridice Eurydice Orfeo, consorte!. Orpbeus, husband! Ah ... mi sento ... languir! Ah.. .I feel myself. ..languishing! (si getto a sedere sopra rrrr sasso) (she sits dolvrr 011 a stone)
Orfeu Orpheus No, sposa! Ascolta! No, wife! Listen! (irr atto di ~loltarsia goardarla) (about to trrrrr aird look at her) Se sapessi ... If you knew ... Ah, che fb? Ah, what am I doing? Ma fino a quando But how long In questo orrido inferno in this terrible Hell Dovrb penar? must I suffer?
Euridice Eurydice Ben mio, ricordati.. .di...me! My beloved, remember. ..me!
Orfeo Orpheus Che affanno! Oh come What torment! Oh how Mi si lacera il cor! my heart is torn apart! Pih non resist0 ... I can resist no more. .. Smanio.. .fremo...delirio.. . I rave. ..I shake. ..I am delirious. .. (si wlta corr inrpeta e la grcarda) (he turris inipetrwusly and looks at her) Ah! mio tesoro! Ah! My treasure!
Euridice Eurydice Giusti De, che m'avvenne? Just Gods, what has happened to me? (alzondosi con forza e torrrarrdo n cadere) (rising abrtrpfly, then trrrriirrg to falo lo manco, io moro. I am slipping away, I die. (mrrare) (SIze dies.) Orfeo Orpheus Ahimb! Dove trascorsi, Alas! What have 1 done, Dove mi spinse where has the madness of love Un delirio d'amor? driven me? (Le s'accosm corrfietta.) (He Inrrries to her. side.) Sposa! ... Euridice! ... Wife! ... Euriydice! ... (La scrrote.) (He slrakes Irer.) Euridice! Consorte! Eurydice! Consort! Ah pih non vive, Ah, she lives no more, La chiamo invan! I call on her in vain! Misero me! Wretched that I am! La perdo, e di nuovo e per sempre! I have lost her, again and for ever! Oh Legge! Oh morte! Oh ruling! Oh death! Oh ricordo crudel! Oh cruel memory! Non ho soccorso, I have no help, Non m'avanza consiglio! there is no counsel for me! 10 veggo solo (Ah - fiera vista!) I see alone (Ah - cruel sight!) U luttuoso aspetto the mournful view Dell'orrido mio stato! of my terrible position! Saziati, sorte rea! Be contented, evil fate! Son disperato! I am in despair!
LQ Aria El Aria Che fa16 senza Euridice? What shall I do without Eurydice? Dove andrb senza il mio ben? Where shall I go without my beloved? Euridice! Euridice! Eurydice! Eurydice! Oh Dio! Rispondi! 0 God! Reply! 10 son pure il tuo fedel! I am still faithful to you! Euridice! Euridice! Eurydice! Eurydice! Ah non m'avanza Ah there is no one left to help me, Piii soccorso, pi8 speranza, no hope, NC dal mondo, nC dal ciel! neither in the world nor in heaven! Che farb senza Euridice? What shall I do without Eurydice? Dove andrb senza il mio ben? Where shall I go without my beloved?
&lRecitativo Recitative
Orfeo Orpheus Ah finisca, e per sempre, Ah, now for ever may grief Colla vita il dolor! end my life! Del nero Averno To black Avernus Gih sono insh la via! I am already on the way! Lungo cammino non B It is not a long road 8.660064 Quel che divide il mio belie da me. that divides my beloved from me. Si. aspetta, o cara onihra dell'Idol nlio! Yes, watt, 0 dew shade of my Idol! Aspetta, aspetta! Wait, wait! No, questa volta senza lo sposo tuo No, this time not without your husband Non vacherai I'onde lente di Stige! will you cmss the slow waters of the Styxl (~'r~olferirsi) (He tries to kill Iri~ttself.)
Scena I1 Scene I1 A~rforee rletti. Love and the aforesaid
Amure (lo rlisrrrnm) Love (disarnts him) Orfeo, che fai? Orpheus, what are you doing?
Orfeo (con irrrpetu efrroi-i rli si) Orpheus (b~lpettrotrslyattrl beside 11buelf) E chi sei tu, And who are you, Che trattenere ardisci who dare to hold back Le dovute a' miei casi my last fury, Ultime furie mie? due to my misfortune?
Amore Love Questo furore calma, Calm this fury Deponi e riconosci Amore! Lay down your weapon and recognise Love!
Orfeo Orpheus Ah sei tu? Ti ravviso! Ah, is it you? I see you again! I1 duo1 finora tutti i sensi rn'oppresse. Up to now all my senses have been Ah che venisti overwhelmed with grief. In si fiero momento? Ah why have you come Che vuoi &a me? at so cruel a moment? What would you with me?
Amore hve Farti felice! To make you happy! Assai per gloria mia soffristi, Orfeo, Enough have you suffered, Orpheus, for my gloq, Ti rendo Euridice il tuo ben. I give you back Eurydice, your beloved. Di tua costanza magginr prova non chiedo. I ask no greater proof of your constancy. Ecco risorge See, she rises A riunirsi con te. to join again with you. (Si alza Eftridice, co111esvegliandosi da irrt profortdo (Eurjdice rises, as ifwakingfront a deep sleep.) .~011110) Orpheus Che veggo! Oh Numi! What do I see! Oh Gods! Sposa! My wife! (con sorpresa, e corre ad abbracciare Elo.idice) (Asto~lisl~ed,he rlrrrs to eslbrace Elrrydice.)
Euridiee Eurydice Consorte! Husband!
Orfeo Orpheus E pur t'abhraccio? And may I now embrace you?
Euridice Eurydice E pure al sen ti stringo! May I hold you to my bosom!
Orfeo (ad Anlore) Orpheus (to Love) Ah, quale riconoscenza mia ... Ah, how grateful I am ...
Amore Love Basta! Enough! Venite, avventurosi amanti Come, happy lovers Usciamo al mondo, let us go to the upper world, Ritomate a godere! return to delight in it!
Orfeo Orpheus Oh fausto giorno, 0 lucky day, Oh Amor pietoso! 0 compassionate Love!
Euridice Eurydice Oh lieto, fortunato momento! 0 happy, fortunate moment!
Amore Love Compensa mille pene My contentment Un mio contento! compensates a thousand sufferings! (parlono) (Tlzey leala)
(ad rol C~IIIIOdi Antore si canrbia la scena) (At a signj?or~lLove tile scene cllanges.) Scena UI Scene 111 Mag~lificoTe~npio dedicato ad Amore. Anlore, Orfeo ed A it~agnifice~rtternple dedicated to Love. Love, Orpheris Ecrridice,precedrrti da rrrrrrleroso drappello di Pastori e and Errrydice, preceded by a tlzrong of sltepherds and Pastorelle che ve~~goaoa festeggiare il ritorr~o sl~epherdesses, co111e to celebrate the ret1n.11 of d'Euridice e con~ir~ciai~do1rn allegro ballo, che Ectrydice. They start a joyjitl ballet, ir~terrcrptedby s'i~iterror~zpeda Orfea, che bltrror~ail segriente coro. Orpl~errs,as tl~eysing.
'&fJ Ort'eo '&fJ Orpheus Trionfi Amore, May Love triumph E il mondo intero and the whole wvorld Serva all'impero serve the empire Della beltb. of beauty.
Di sua catena Never was dearer Talvolta amara the f~eedom Mai fu pih cara of her sometimes La liberti. harsh bonds.
Coro Chorus Trionfi Amore, May Love triumph E ii mondo intero and the whole world Serva all'impero serve the empire Della beltb. of beauty.
Amore Love Talor dispera, Sometimes despair, Talvolta affanna sometimes anxiety D'una tirama, the cruelty La crudeltl. of tyranny brings.
Ma poi la pena But the pain Oblia L'amante the lover forgets Nel dolce istante in the sweet instant , Della pie&. of mercy.
Coro Chorus Trionfi Amore, May Love triumph E il mondo intern and the whole world , Se~aall'impero serve the empire Della beltb. of beauty. Euridice Eurydice La gelosia Jealousy Strugge e divora; destroys and devours; Ma poi ristora but faith then La fedelti. restores. E quel sospetto And that suspicion Che il cor tormenta, that torments the heart, Alfin diventa in the end turns Feliciti. to happiness.
Cnro Chorus Trionfi Amore, May Love triumph E il mondo intero and the whole world Serva all'impero serve the empire Della belti. of beauty.
Englislt Version: Keith Anderson Gluck's great achievement in the world of opera was to move music away from the formal conventions of the period, replacing long stretches of recitative with orchestral accompaniments, which greatly improved the dramatic flow. Gluck's command of dramatic atmosphere, for instance in the Dance of the Furies, and of expressive vocal line, exemplified by the opera's most famous aria, Chefar6?, is remarkable, and still has the capacity to move and captivate the listener in this recording of the original 1762 version of Orfeo ed Euridice. Christoph Willibald GLUCK (1714-1787) Orfeo ed Euridice
Orfeo ...... Ann-Christine Biel Euridice ...... Maya Boog Amor ...... Kerstin Avemo
Drottningholm Theatre Chorus and Orchestra Arnold 0stman
El Overture 320 Act II 20:15 Act1 19:37 Act III 23:42
Recorded live on 29th June and from 1st-3rd July, 1998 in the Dmttningholms Slottsteater, Drottningholm, Sweden Producer: Andrew Walton (K&A Produclions) Engineer: Eleanor Thomason Booklet Notes: Keith Anderson This recordiig has been recorded and edited at 20bit resolution Cover Picture: Orplreus and Eurydice 1875 by EMCOScuri (1805-84). (The Art Archive I Civiche Racc d'Arte Moderna Pavia I Dagli Orti)