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Christoph Willibald Von Gluck – La Rencontre Imprévue (The Unexpected Encounter)


Christoph Willibald Von Gluck – La Rencontre Imprévue

Recorded in January 1990

About this work:
La rencontre imprévue (The Unexpected Encounter), also known as Les pèlerins de la Mecque (The Pilgrims to Mecca) is a comédie mêlée d’ariettes, a form of opéra comique, by Christoph Willibald Gluck, first performed at the Burgtheater, Vienna on January 7, 1764. The libretto was by Louis Hurtaut Dancourt, who based it on a 1726 play by Alain René Lesage and d’Orneval.
In 1784 Mozart wrote a set of variations for piano (K.455) on the aria “Unser dummer Pöbel meint” from this opera. In 1887 the variations were orchestrated by Tchaikovsky as the final movement of his orchestral Suite No.4 “Mozartiana”.

The Artists:

Track List:

cd1:
01. Ouvertüre (2:25)
02. Nr. 1 Air “Heureux l’amant qui se deprêtre de Cupidon” (2:06)
03. Dialogue: “Illah! Illah! ha!” (0:15)
04. Air “Castagno, castagna” (2:53)
05. Air “Les hommes pieusesment pour Caton nous tiennent” (2:34)
06. Dialogue “Eh! mes amis, vous voilà?” (0:30)
07. Air “D’un céleste transport, mon âme est agitée” (2:14)
08. Dialogue “Pourvu qu sa maladie ne se gagne pas” (0:19)
09. Air “Il fait entendre sa sonnette” (2:02)
10. Dialogue “Je ne vois pas ici Osmin!” (0:06)
11. Air “Castagno, castagna” (1:07)
12. Air “Je chérirai, jusqu’au au trépas” (4:23)
13. Dialogue “Moi, Calender!” (0:14)
14. Air “Bel inconnu qu’ici l’amour amène” (2:15)
15. Dialogue “Eh bien, Seigneur, que ne le suivez-vous” (0:08)
16. Trio “Je suis touché des bontés de la dame” (3:51)
17. Dialogue “Eh bien Seigneur, qu’en dites-vous?” (0:17)
18. Dialogue “Elle est fort gracieuse” (0:01)
19. Air “J’ai fait un rêve des plus doux” (2:23)
20. Air “Vous ressemblez à la rose naissante” (4:46)
21. Air “A ma maîtresse, j’ai promis, Seigneur” (1:26)
22. Dialogue “Ma foi, Seigneur, je crois qu’elle a raison (0:24)
23. Air “Je cherche à vour faire le sort le plus doux (3:16)
24. Air parodié “Tout ce qu j’aime est au tombeau” (4:53)
25. Air “J’ai perdu mon étalage” (1:48)
26. Dialogue “La favorite se rit de nous” (0:19)
27. Duo “Oh, Abrenuntio” (0:54)
28. Duo “Que vois-je! O ciel” (1:53)
29. Air “Je sais que l’amoureux flambeau” (3:21)
30. Air “Sans votre brusque retraite” (1:31)
31. Ariette “Ah, qu’il est doux de se revoir” (5:09)
32. Air “Venez, venez, troupe brillante” (1:09)
33. Ballets (10:10)
34. Finale Sextuor “Ah! je suis en transe” (2:19)
cd2:
01. Dialogue “Vous êtes bien pressé de partir cette fois-ci” (1:01)
02. Dialogue “A vous frère” (0:06)
03. “Mahomet, notre grand prophète” (1:22)
04. Dialogue “Un bienfait n’est jamais perdu” (0:09)
05. Dialogue “Ami, ton Prince implore ton secours” (0:46)
06. Air “D’une telle lâcheté” (2:08)
07. Dialogue “Le bonheur de vous revoir” (0:08)
08. Air parodié”Maître des coeurs” (3:49)
09. Dialogue “Seigneur, allez vite” (0:10)
10. Ah! Osmin, te voilà (1:00)
11. Dialogue “Ah! Ah! Gaillard” (0:17)
12. Trio “Permettez que je vous embrasse” (1:54)
13. Trio “Ho, ho! Monsieur Vertigo” (1:07)
14. Trio “Est-ce un adagio?” (2:28)
15. Air “Des combats, j’ai peint l’horreur” (1:59)
16. Air “C’est un torrent impétueux” (1:23)
17. Air “Un ruisselet bien clair, bien net” (3:05)
18. Dialogue “Ah, j’ai cru qu’il allait m’étrangler” (0:09)
19. Dialogue “Ah! chère Rezia” (0:17)
20. Duo “Qu’il est doux de partager ses chaînes” (2:02)
21. Dialogue “C’en est fait de nous” (0:08)
22. Ensemble “Après un tel outrage, il faut que dans ma rage” (5:57)
23. Finale “Cesson de répandre des larmes” (1:59)

Stereo, DDD, mp3, 320 kbps, 313.52 Mb, 106:45 minutes. Full info, synopsis & covers are included.

Part1Part2Part3Part4

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Christoph Willibald Gluck – Paride Ed Elena


Christoph Willibald Gluck – Paride Ed Elena

Recorded in 1992.

About this Opera:
Paride ed Elena (Paris and Helen) is an opera by Gluck, the third and final of his Italian reformist works, following Orfeo ed Euridice and Alceste. Paride ed Elena encompasses the events between The Judgment of Paris and the flight of Paris and Helen to Troy and, like its predecessors, its libretto was written by Ranieri de’ Calzabigi. It was premiered at the Burgtheater in Vienna on 3 November 1770.

Track List:
cd1:
01. Ouverture (4:31)
02. ATTO PRIMO – SCENA – Non sdegnare, o bella Venere (6:11)
03. Dall’aurea sua stella (2:36)
04. Spiagge amate, ove talora (2:29)
05. SCENA SECONDA – Stranier, la mia Regnia (4:04)
06. Ma Chi Sei!?! (2:57)
07. SCENA TERZA – Felice te, che possessor sarai (1:06)
08. Nell’idea ch’ei volge in mente (2:46)
09. Ballo (6:58)
10. ATTO SECONDO – SCENA PRIMA – Si presenti, mivegga di Priamo il figlio (7:39)
11. SCENA SECONDA – Regina! Oh Dei! (4:04)
12. Forse piu dúna belta (1:06)
13. SCENA TERZA – Tutto qui mi sorprende (4:17)
14. La belle immagini d’un dolce amore (3:04)
15. ATTO TERZO – Prence, la tua presenza il popolo di Sparta (1:15)
16. Negli strali, nell’arco possente (2:38)
17. Non piu! L’eroe trojano, illustri atleti (0:50)
cd2:
01. Per te, signor (2:12)
02. Quegli occhi belli (9:48)
03. Ah ferma! Ah senti! (3:24)
04. Mi fugge spietata (1:46)
05. Maestoso (8:23)
06. ATTO QUARTO – SCENA PRIMA – Temerario! E non basta (4:15)
07. SCENA SECONDA – Si, spietata, s’accende (9:18)
08. SCENA TERZA – Di te scordarmi, e vivere! (4:15)
09. SCENA QUARTA – Lo temei: non mi sento (4:44)
10. ATTO QUINTO – SCENA PRIMA – Elena a me s’asconde! (3:54)
11. Donzelle semplici, no, non credete (2:17)
12. Consolati, oh Regina! (3:36)
13. SCENA TERZA – T’inganni, il tuo destino (6:32)
14. Sempre a te saro fedele! (2:41)
15. SCENA ULTIMA – Viene al mar, tranquilla e l’onda (3:15)
16. Presto fugge la belta (2:58)

The Players:

(Josh Bennett singing “Spiagge Amate” in the Brendle Recital Hall of Wake Forest University)

Stereo, DDD, mp3, 320 kbps, 304.07 Mb, 2 hours 11 minutes. Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3 —–  Part4

Christoph Willibald Gluck – Orfeo Ed Euridice


Christoph Willibald Gluck – Orfeo Ed Euridice

Recorded at Glyndebourne, Great Britain on June, 1982.

About this Opera:
Orfeo ed Euridice (French version: Orphée et Eurydice; English translation: Orpheus and Eurydice; Spanish Translation: Orfeo y Eurídice) is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de’ Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at Vienna on October 5, 1762. Orfeo ed Euridice is the first of Gluck’s “reform” operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a “noble simplicity” in both the music and the drama.
Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes. The opera is the most popular of Gluck’s works.
The opera was first performed in Vienna at the Burgtheater on October 5, 1762, for the name-day celebrations of the Emperor Francis I. The production was supervised by the reformist theatre administrator, Count Giacomo Durazzo. Choreography was by Gasparo Angiolini, and set designs were by Giovanni Maria Quaglio, both leading members of their fields. The first Orfeo was the famous castrato Gaetano Guadagni. Orfeo was revived in Vienna during the following year, but then not performed until 1769. For the performances that took place in London in 1770, Guadagni sang the role of Orpheus, but little of the music bore any relation to Gluck’s original, with J.C. Bach – “the English Bach” – providing most of the new music. Haydn conducted a performance of the Italian version at Eszterháza in 1776. During the early 19th century, Adolphe Nourrit became particularly well-known for his performances of Orpheus at the Paris Opera. In 1854 Franz Liszt conducted the work at Weimar, composing a symphonic poem of his own to replace Gluck’s original overture. Typically during the 19th century and for most of the 20th century, the role of Orfeo was sung by a female contralto, and noted interpreters of the role from this time include Clara Butt and Kathleen Ferrier, and the mezzo-sopranos Rita Gorr, Janet Baker and Risë Stevens (at the Metropolitan Opera). Among conductors, Arturo Toscanini was a notable proponent of the opera. His radio broadcast of Act II was eventually released on both LP and CD.
In 1769 for a performance at Parma which was conducted by the composer, Gluck transposed the role of Orfeo up for the soprano castrato Giuseppe Millico, maintaining a libretto in Italian. This version has not been performed in modern times.
Gluck revised the score again for a production in Paris, which premiered on 2 August 1774. This version, named Orphée et Eurydice, had a French libretto by Pierre-Louis Moline, which was both a translation of and an expansion upon Calzabigi’s original text. Gluck expanded and rewrote parts of the opera, and changed the role of Orpheus from a part for a castrato to one for high tenor or the so-called haute-contre – the usual voice in French opera for heroic characters – as the French almost never used castrati. This version of the work also had additional ballet sequences, conforming to the tastes that were prevalent at the time in Paris.
In 1859, the composer Hector Berlioz made a version of the opera – in four acts – with the singer Pauline Viardot in mind, adapting the score for a female alto. In this adaptation, Berlioz used the key scheme of the 1762 Vienna score while incorporating much of the additional music of the 1774 Paris score. He returned to the Italian version only when he considered it to be superior either in terms of music or in terms of the drama. He also changed the orchestration to take advantage of new developments in musical instruments. In Berlioz’s day, Orpheus came to be generally sung by a female alto or a tenor, as the original version for castrato became increasingly neglected. Operatic castrati themselves had virtually vanished by 1825, and performances of the original version for castrato became increasingly rare. The modern practice of approximating castrati by using countertenors as replacements only dates to 1950.
Finally, an 1889 edition, published by Ricordi, combined elements of both the Italian and the French versions, using again a female alto as Orfeo. This edition proved extremely popular, and consisted largely of Berlioz’s adaption condensed into three acts. It also re-incorporated much of the music of the 1774 French version that had been omitted by Berlioz. On occasion the role of Orfeo has even been transposed down an octave for a baritone to sing. Dietrich Fischer-Dieskau and Hermann Prey are two notable baritones who have performed the role in Germany. Dietrich Fischer-Dieskau recorded the opera, a recording which is still available commercially.

Track List:
cd1:
01. Sinfonia (3:16)
02. Coro di Pastori e Ninfe (3:24)
03. Recitativo: Orfeo (0:39)
04. Pantomima (2:06)
05. Coro di Pastori e Ninfe (1:31)
06. Recitativo: Orfeo (0:22)
07. Ritornello (1:04)
08. Aria: Orfeo (1:21)
09. Recitativo: Orfeo (1:37)
10. Aria: Orfeo (1:25)
11. Recitativo: Orfeo (1:30)
12. Aria: Orfeo (1:26)
13. Recitativo: Orfeo & Amore (1:35)
14. Aria: Amore (0:47)
15. Recitativo: Orfeo & Amore (1:53)
16. Aria: Amore (2:09)
17. Recitativo: Orfeo (2:03)
18. Aria: Orfeo (4:37)
19. Danza delle Furie e degli Spettri (1:17)
20. Coro delle Furie e degli Spettri (0:29)
21. Le Furie Riprendono il Ballo (0:35)
22. Coro (1:21)
23. Orfeo e Coro (2:37)
24. Coro delle Furie e degli Spettri (0:50)
25. Aria: Orfeo (0:55)
26. Coro delle Furie e degli Spettri (0:52)
27. Aria: Orfeo (0:39)
28. Coro delle Furie e degli Spettri (1:14)
29. Danza delle Furie e degli Spettri (4:15)
30. Balleto (2:18)
31. Balleto (5:35)
32. Balleto (2:54)
33. Aria: Euridice e Coro (3:29)
cd2:
01. Orfeo: Che puro ciel! Che chiaro sol! (6:04)
02. Coro di Eroi ed Eroine (2:13)
03. Danza degli Eroi (2:18)
04. Orfeo: Oh voi, ombre felici (1:00)
05. Coro di Eroi ed Eroine (3:00)
06. Orfeo & Euridice: Vieni! Sequi i miei passi (3:56)
07. Orfeo & Euridice: Su! Su e mi sequi, O cara (3:40)
08. Eurydice: Qual vita e questa mai (1:30)
09. Eurydice & Orfeo: Che fiero momento! (3:03)
10. Orfeo & Euridice: Ecco novel tormento! (3:54)
11. Orfeo: Che faro senza Euridice? (4:37)
12. Orfeo, Amore, Euridice: Ah! Finisca e per sempre (2:57)
13. Gran Scena – Orfeo, Coro, Amore, Euridice (3:41)
14. Danza di Eroi ed Eroine (2:15)
15. Gavotta (2:00)
16. Balleto (3:10)
17. Minuetto (2:08)
18. Terzetto: Euridice, Orfeo, Amore (3:39)
19. Balletto (0:35)
20. Balletto (2:13)
21. Ciaccona (5:20)
22. Coro – Trionfi Amore (1:47)

The Players:

Stereo, DDD, mp3, 320 kbps, 304.27 Mb, 2 hours 07 minutes. Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3 —–  Part4

Christoph Willibald Gluck – Iphigénie En Aulide


Christoph Willibald Gluck – Iphigénie En Aulide

About the Opera:
This is the only available recording of a neglected masterpiece, Gluck’s first “Iphigenie” opera, (there was a recording by Riccardo Muti, a few years back, which is now deleted) premiered in Paris in 1774, five years before his greatest work, “Iphigenie en Tauride”. Though “Iphigenie en Aulide” doesn’t have the concentrated force of the later opera, it is still very moving and contains much beautiful music. It was the first of Gluck’s six operas to be written for the French stage and while it certainly forms part of his mission to reform the old, seemingly undramatic style of Baroque opera, it also owes a great deal to the tradition of `tragedie lyrique’, and listeners familiar with Rameau or Leclair will be at home here – Gluck’s work, like theirs, is built up from a mosaic of short arias, choruses and dances, with plenty of opportunity for big setpiece scenes.

Gluck’s other opera on the theme, “Iphigenie en Tauride”, uses an alternative version of the myth where Iphigenia vanishes at the moment of sacrifice and is taken off by the goddess Diana to serve as her priestess in the desolate, far distant region of Tauris on the Black Sea, until she is rescued, years later, by her long-lost brother, Orestes.

Track List:
cd1
01. Ouverture (6:23)
02. Acte I – Scene 1. “Diane Impitoyable” (1:26)
03. Acte I – Scene 1. Air. “Brillant Auteur de la Lumiere” (2:25)
04. Acte I – Scene 2. Choeur. “C’est Trop Faire de Resistance” (1:27)
05. Acte I – Scene 2. “D’une Sainte Terrreur” (2:19)
06. Acte I – Scene 2. Choeur “Nommez-Nous la Victime” (0:57)
07. Acte I – Scene 3. “Vous Voyez Leur Fureur Extreme” (0:45)
08. Acte I – Scene 3. Air. “Peuvent-Ils Ordonner?” (2:06)
09. Acte I – Scene 3. “Vous Oseriez Etre Parjure?” (1:10)
10. Acte I – Scene 4. Air. “au Faite Des Grandeurs” (1:43)
11. Acte I – Scene 4. “Dieux Cruels!” (0:24)
12. Acte I – Scene 4. Choeur. “Que D’attraits!” (3:22)
13. Acte I – Scene 5. Air. “Que J’aime a Voir Ces Hommages Flatteurs” (1:04)
14. Acte I – Scene 5. “Demeurez Dans Ces Lieux” (0:23)
15. Acte I – Scene 5. Choeur. “Non, Jamais” (2:38)
16. Acte I – Scene 5. Air “Les Voeux Dont ce Peuple M’honore” (1:05)
17. Acte I – Scene 5. Air (Mouvement de Passepied) (0:45)
18. Acte I – Scene 6. “Allez, il Faut Venger Notre Gloire Offensee” (1:14)
19. Acte I – Scene 6. Air. “Armez-Vous D’un Noble Courage” (1:27)
20. Acte I – Scene 7. “L’ai-je Bien Entendu?” (0:34)
21. Acte I – Scene 7. Air. “Helas! Mon Coeur Sensible!” (2:51)
22. Acte I – Scene 8. “en Croirai-je Mes Yeux?” (1:37)
23. Acte I – Scene 8. Air. “Iphigenie, Helas!” (1:00)
24. Acte I – Scene 8. “S’il Est Vrai” (0:21)
25. Acte I – Scene 8. Air. “Cruelle, Non Jamais” (2:43)
26. Acte I – Scene 8. “Mon Trouble, Mes Soupcnons” (0:36)
27. Acte I – Scene 8. Duo. “ne Doutez Jamais de ma Flamme” (3:50)
28. Acte II – Scene 1. Choeur. “Rassurez-Vous, Belle Princesse” (2:29)
29. Acte II – Scene 1. Air. “Par la Crainte et Par L’esperance” (2:28)
30. Acte II – Scene 2. “ma Fille, Votre Hymen S’apprete” (0:52)
31. Acte II – Scene 3. Marche (1:00)
32. Acte II – Scene 3. “Rival de ma Valeur” (0:33)
33. Acte II – Scene 3. “Chantez, Celebrez Votre Reine” (2:37)
34. Acte II – Scene 3. Air. “Achille Est Couronne” (1:06)
35. Acte II – Scene 3. “Ami Sensible, Ennemi Redoutable” (0:56)
36. Acte II – Scene 3. Air Gai (Danse) (0:45)
37. Acte II – Scene 3. Passacaille (Ballet) (7:19)
cd2
01. Scene 3. Choeur. “Les Filles de Lesbos” (2:00)
02. Scene 3. Air Pour Les Esclaves (3:58)
03. Scene 3. Quatuor. “Jamais a Tes Autels” (1:12)
04. Scene 4. “Princesse, Pardonez” (1:39)
05. Scene 4. Air. “Par un Pere Cruel” (4:15)
06. Scene 4. “Reiner, Rassurez-Vous” (0:36)
07. Scene 4. Trio. “C’est Mon Pere, Seigneur” (3:08)
08. Scene 5. “Suis-Moi, Patrocle” (1:33)
09. Scene 6. “je le Vois” (2:27)
10. Scene 6. Duo. “de Votre Audace Temeraire” (1:01)
11. Scene 7. “tu Decides Son Sort” (5:12)
12. Scene 7. Air. “o Toi, L’objet le Plus Aimable” (4:18)
13. Scene 1 &2. Choeur. “Non, Non, Nous ne Souffrirons Pas” (1:25)
14. Scene 3. “Princesse, Suivez-Moi” (1:07)
15. Scene 3. Air. “il Faut, de Mon Destin” (1:42)
16. Scene 3. “et Vous M’aimez” (0:40)
17. Scene 3. “Adieu: Conservez Dans Votre Ame” (3:12)
18. Scene 3. “Sans Vous, Achille Pourrait Vivre?” (0:41)
19. Scene 3. Air. “Calchas, D’un Trait Mortel Perce” (1:18)
20. Scene 4. “Cruel! il Fuit” (0:29)
21. Scene 5. “Osez Mettre le Comble” (1:20)
22. Scene 5. Air. “Adieu, Vivez Pour Oreste” (1:30)
23. Scene 5. “Vous Entendez Les Cris” (1:01)
24. Scene 6. “Dieux Puissants Que J’atteste” (2:34)
25. Scene 6. Air. “Jupiter, Lance la Foudre” (1:38)
26. Scene 6,7,8. Choeur. “Puissante Deite” (3:48)
27. Scene 9. Descente de Diane “Votre Zele Des Dieux a Flechi la Colere” (1:36)
28. Scene 9. “Adorez la Clemence” (1:30)
29. Scene 9. Quatuor. “Mon Coeur ne Saurait Contenir” (2:21)
30. Scene 9. Choeur “Jusque Aux Voutes Etherees (1:47)
31. Scene 9. Passacaille (2:44)
32. Scene 9. Choeur “Partons, Volons a la Victoire” (1:53)

The Artists:

mp3, 320 kbps, cd ripping, 2 hours 12 minutes
Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3 —–  Part4

Christoph Willibald Gluck – Le Cinesi


Christoph Willibald Gluck – Le Cinesi

About the opera:
Le Cinesi (The Chinese Women) is an opera in one act, with music composed by Christoph Willibald Gluck. The Italian-language libretto was by Pietro Metastasio, and this libretto had first been set by Antonio Caldara in 1735. More specifically, the work is often described as an azione teatrale, as opposed to a festa teatrale, where the designation as an azione teatrale indicates that this work was not intended for a formal occasion such as a court festivity, a marriage or a name-day. The work was first performed for the Austrian royal family at the Vienna Schlosshof on September 24, 1754, on the occasion of the visit of the Empress Maria Theresa to the household of Saxe-Hildburghausen. Max Loppert has commented on Gluck’s relationship with the Austrian royal family and its bearings on this work. The work has also been characterised as a satire on then-contemporary opera conventions.

Track List:
01. Sinfonia (Overture) (5:57)
02. Rezitativo: E ben: Stupide e mute (10:22)
03. Aria: Prenditi il figlio …! (3:01)
04. Rezitativo: Ah, non firnir sì presto (3:20)
05. Aria: Son lunghi e non mi brami (7:18)
06. Rezitativo: Che vi par della scena ¿ (1:41)
07. Aria: Non seperar, non lusingarti (7:43)
08. Rezitativo: Che amabil pastorella! (3:24)
09. Aria: Ad un riso, ad un’occhiata (5:57)
10. Rezitativo: Che ti sembra, Silango (2:20)
11. Quarttetto: Voli il piede in lieti giri (5:23)

The Artists:

mp3, 320 kbps, cd ripping, 56:28 minutes
Covers, info & synopsis included.

Part1 —–     Part2