1:00 Overture 4:04 Act 1. Ah, se intorno a quest‘ urna funesta 7:00 Basta, basta, o compagni 7:44 Ballo 8:59 Ah, se intorno a quest‘ urna funesta 11:07 Chiamo il mio ben così 19:38 Gli squardi trattieni 22:15 Che disse? 24:30 Act 2 25:54 Chi mai dell‘ Erebo 29:04 Deh placatevi con me 31:27 Misero giovane, che vuoi, che mediti 32:21 Mille pene, ombre moleste 35:52 Che puro ciel, che ciaro sol 41:50 Vieni a‘regni del riposo 43:18 Anime avventurose 43:54 Torna, o bella 45:09 Act 3. Vieni, segui i miei passi 50:45 Vieni, appaga il tuo consorte 53:57 Qual vita è questa mai che a vivere incomincio\ 56:04 Che fiero momento 59:13 Ecco un nuovo tormento 1:02:56 Che farò senza Euridice Ah finisca e per sempre colla vita il dolor! 1:06:28 Ah finisca e per sempre colla vita 1:07:46 Orfeo, che fai? 1:10:24 Trionfi Amore
1:00 Uvertīra/Overture, 4:04 I cēl./Act 1.: 4:04 ganu koris “Šalc vējš pār laurukokiem”(Ah, se intorno a quest‘ urna funesta) : 4:04 orķ.ievads, 4:44 = 8:58 koris, 5:13, 5:48 Orf.solo, 7:00 Orf.rečitat.(Basta, basta, o compagni), 7:43 deja/Ballo, 10:12 kora t.orķestrī pēdējoreiz = balets-gājiens, 11:05 = 13:19 Orf.ārija ”Kad rīta ausma kvēl” (Chiamo il mio ben così), Echo nav spilgts, 12:10 Orf.reč.starp ārijām, 17:40 Amora ierašanās ( 19:38 Gli squardi trattieni, 22:15 Che disse?), 24:05 1.cēl.noslēg./Atto1 fin, Orf.nokļūst pazemē, 24:30 II cēl./Act 2.: 25:43 II cēl.1.a. Orf.skats ar fūrijām: 25:43 ievads - Orf.lira (arfa), 25:53 fūr.pirmais koris ”Kas pārdrošs ienākt drīkst?” (Chi mai dell‘ Erebo), 26:08 Fūriju deja, 27:05 fūr.pirmā kora atkārt.(ar Kerberu), 29:03 Orf.1.ārija “Redziet, acīs man asaras mirdz”(Deh placatevi con me), ar fūr.kora ”Nē!”saucieniem, 31:25 fūr.otrais koris (Misero giovane, che vuoi, che mediti), 32:20 Orf.2.ārija ”Tūkstoš skumju”(Mille pene, ombre moleste), ["Я не боюся пекла страждання"] 33:50 Orf.3.ārija ”Gaišā skaistā dziesma saista”(Men tirane a voi sareste), 34:35 fūr.pēdējais koris (pilnībā nomierinājušās, līdz 34:57, kā arī tālāk), 35:50 II cēl.2.a. Svētlaimīgo ēnu valstībā (Elizejas laukos, slavenā baleta un "Melodijas" te nav, tas ir 2., Parīzes, redakcijā; 35:50 Che puro ciel, che ciaro sol, 41:50 Vieni a‘regni del riposo, 43:18 Anime avventurose, 43:54 Torna, o bella), 45:08 III cēl.Act 3.: 45:23 rečit.,Orf.: ”Nāc aiz manis”(Vieni, segui i miei passi), 50:45 Eir.un Orf.duets “Nāc aiz manis, mīļā”(Vieni, appaga il tuo consorte) ["Іди услід за мною, дорога"], ( 53:57 Qual vita è questa mai che a vivere incomincio), 56:03 Eiridikes ārija (Che fiero momento), 59:13 Ecco un nuovo tormento, 1:02:55 Orf.pēd.ārija C dur ”Pazaudēju Eiridiki”(Che farò senza Euridice),refrēns, 1:04:53 Orf.pēd.ārijas 2.epizode ”Eiridike! Eiridike!”, 1:06:28 Ah finisca e per sempre colla vita, 1:07:46 Amors: “Orfej, ko dari?(Orfeo, che fai) 1:10:00 III c.noslēg.trriumfs (orķ., 1:10:24 balsis)
I have heard this opera since 1973. Never, but never have I seen it so beautifully realized. Every level of detail has clearly been considered and chosen well. The musicianship is superb; the understanding and application of ornamentation is authentic, musical, and thorough; the use of 18th -Century staging speaks much as to why "less is more". I have absolutely wept at the beauty, here. PS: When superior acting further ornaments superior singing and playing, we have "opera," indeed. Superb!
As you are familiar with this opera, can I ask you why it seems the ending in the staging of this opera production appears to be quite different than the one filmed in 1982 by the Glyndebourne Festival Opera (shown on You Tube, with the London Philharmonic). I am not familiar with this opera and I watched both films back-to-back. I it just that one has sub-titles so I understood it better? I only speak English (with a little French), so I couldn't follow along as well with this film (although I thoroughly loved it).
@@6tttchik Thanks for asking. I am trying to define a problem which comes across to me as nebulous. Me. I speak both English and native-level French. Still, this is not a production of Gluck's later version of the opera, in French -- which also has its beauties, by the way. And so: let me encourage you to focus and filter. I can better respond, then.
In fact, the ending in this prodiction is quite weird, different from the classical Gluck's version - which is itself different from the original legend, in which ge loses her definitely after turning back. This original storyline is reapected in Montevidi's "Orfeo", by the way. In Gluck's opera a happy ending was added, to please the tastes of the contemporary public. However, in this production that we are watching and commenting on, Orfeo walks away alone in tears while Euriduce is celebrating her salvation alone. I have searched for interviews by the director or the actors but could find nothing.
@@6tttchik This version seems to be a 'show within a show' or a 'mental world' of sorts; Orpheus's actor sees and participates in the show to drown his sorrows over losing Eurydice, implicitly his fault as we see in the Furies section. He eventually realizes the happy ending Amore offers is all an illusion to keep him from dealing with grief, and it ends with him silently walking away from the theater alone.
Sin duda alguna, la mejor versión de esta ópera. Bejun Mehta impagable y Collegium 1704 esplendoroso. Y como si todo esto fuese poco, una puesta en escena maravillosa.
Puur! Pure muziek. Prachtige beelden. Ontroering, verdriet, wanhoop, eenvoud! Beeld, geluid en spel brengen de complexiteit en eenvoud van ons bestaan in beeld. Bijzonder. Ook de stilte aan het einde.
Bejun Mehta nous enchante, sa voix est sublime et son jeu d'une émotion intense.La mise en scène est fabuleuse. Quelle beauté ! Merci pour cette version de Vienne, si riche et si bien mise en scène, à l'unisson de la Musique de Gluck.
Er pour une fois un couple croyable. Orfeo est un jeune héros et Euridice une jeune et belle femme. We are accustomed to elderly and obese types shrieking and grumbling like traditional opera stars do. Besides good singers they are all three also good actors.
@@christianwouters6764 Je revois et écoute pour la seconde fois et l'émotion est plus intense encore et le jeu de ces deux sublimes chanteurs envahit l'âme et le coeur
I saw a student production of this opera in Melbourne a long time ago and was totally overwhelmed by the beauty of the music especially the choruses and dances -I subsequently did a bit of research into the music and the original Paris production and found out that the philosopher Jean Jacques Rousseau (himself a composer of operas) was overwhelmed by the beauty of the music in the same way that I was and Rousseau actually declared that the music was so perfect that no more music should ever be written as it would never reach Gluck's standards.
04:05 І д. хор пастухів і пастушок "Як сумно вітер мирт гойдає" 13:15 І д. арія Орфея "Де ти, любове моя?" 27:05 ІІ д. 1 к. хор фурій "Чий це зухвалий дух наш потривожив слух?" 29:05 ІІ д. 1 к. аріозо Орфея "Сліз потік ллється з моїх очей" 32:20 ІІ д. 1 к. аріозо Орфея "Я не боюся пекла страждання" 33:50 ІІ д. 1 к. аріозо Орфея "Серце рветься, в пісню ллється" 50:45 ІІІ д. дует Орфея і Евридіки "Іди услід за мною, дорога" 1:02:55 ІІІ д. арія Орфея "Загубив я Евридіку", рефрен 1:05:10 ІІІ д. арія Орфея "Загубив я Евридіку", епізод "Мовчання смерті"
Wish dearly we had subtitles for this to use in my teaching. (Hard to ask students to follow along Italian libretto + translation unless they've had guaranteed training in that language.)
Astonishingly nobody has mentioned the extraordinery location where the present representation of the opera was staged. A comprehensive description is available in Wikipedia in German: Schlosstheater cesky krumlov. In fact, the theater is still in the shape of approx. the year when Gluck composed the opera.
I prefer Jaroussky in the role. Light as a feather. (Edit: it’s a gorgeous castle, though and the village is very beautiful. I lived in Prague and visited outlying towns where possible with my cousins & aunts.
Why don't other "period performances" sound this good? Oh, maybe because these guys and girls are putting some real emotion into it rather than playing with limp wrists! The overture sounds AMAZING.
in German Language ....Bis Heute einer der Größten in der Klassik Musik VIELE haben von Ihm gelernt , auch Heutzutage gehe ich oft an seinem Wohnhaus in Wien vorbei und denke an Ihn
@@ellawolff8048 in Wien 4 Bez, Gluckhaus Wiedner Hauptstraße 32; „Zum silbernen Löwen"; (Gedenktafel), Wohn- und Sterbehaus von Christoph Willibald Gluck,
The ending; if you’ve lost someone to death, who hasn’t imagined or dreamed their joyful return only to realise in a shattering, bittersweet heartbeat, otherwise.
I have watched other productions of this opera. This is the most realistic version which is skillfully done , the other one done in black and white for Canadian TV is very nice too and may be seen only on RU-vid because it is not available on DVD.
This performance is a boon to civilization. Period! I am proudly LGBT: Yet I have never, in all of my artistic inquiries, seen so beautiful an expression of a thing called, "love". The music is played with not only beautiful authenticity, but also with emotional TRUTH! The staging shows that "less is more": We need no cynical, "modern" renderings, when what is authentic speaks its own truth. I weep at the magical beauty of this realization.
Bei momenti di regia di teatro, molto immersivo e dall'aria "moderna", ma rimanendo in un'estetica tutt'altro che attuale, quindi contestualizzata, questo il potere del teatro.
A wonderful performance you posted @Logan. Many thanks! I do recognize Bejun Mehta. But it obviously would realy be nice to read in the accompanying tube title who are performing: orchestra, choir, soloists. And in which theatre is it performed?
Amazing! Now I can hear how castrato sound like and it is beautiful. It is understanable why this role play mostly woman just like in Mozarts Maridge of Figaro as Cherubino.
I thought i had previously commented on this Superb version of Glucks opera. However here is my opinion. It is absolutely brilliant and understandable and gets viewed almost daily. The settings, which swing between beautifully decorated stage sets and actual castle stonework is an unusual approach, but for me it works. The perfomance of the dancers and chorus is really excellent. The pretty Regula Muhlemann adds a nice, slightly humerous version of Amore and i find Bejan Metha excellent ; unlike some comments. from other pretentious smart arses. This opera version retains , to a degree, its original period setting in contrast to so many modern sets that are so unbelievably minimal that are barely worth watching. An exception would be Porpora's Carlo Il Calvo brought up to date in 20th century Cuba; using beautifully lit colourful stage sets. Now that is one fantastic presentation.
Who understood the meaning of this ending? Why does he leave alone after the gods have given his beloved wife back to him? Offended by her wish to celebrate a bit instead of running away with him immediately? Could not get the director's idea. Thank you for your help!
There was a very funny guy who thought I did not know the legend behind the opera :). Looks like he has cancelled his hilarious comment ;). Obviously my question was not about the original legend and neither about the original opera but about this very stage version. In the original legend Orpheus loses her definitely after turning back, but in Gluck's opera the gods give her back to him. This version however is different from both versions: she is back to him but he walks away in tears. ANd that was the idea that I was trying to interprete. It is funny to have to explain all this ;).
II Ato: 24:30 Coro de fúrias: Chi mai dell'Erebo - 25:54 Orfeu: ária Deh placatevi con me!: 28:29 Deh placatevi con me! Furie, larve, ombre sdegnose, Vi renda almen pietose Il mio barbaro dolor! Mille pene, Ombre sdegnose, Come voi sopporto anch'io; L'inferno mio ho con me, Lo sento in mezzo al mio cor.
In this opera Bejun is alike the contemporary pop stars of the golden opera age being bigger than the composers and playing with the scores to their own liking. I doubt if Von Glück would be enthusiastic...
Beautiful! If only there were more stagings done in such a tasteful manner (instead of the recent surge of ridiculous and pretentious modernist "interpretations").
Beautiful and eye-opening performance of this BOHEMIAN ( not German ) composer ..... in one of the last UNTOUCHED period Baroque theatre in Europe. Very interesting outlook on Euridice as a person .... why to get the ( ***** ) out of the hell in the first place ? Well
Andre de Treville I’m not an expert in this area, but I think that I read once that Gluck’s Italian was better than his German as well, though as Italian was in essence the musical lingua franca at the time, that would not really be surprising.
@@andredetreville9391 En fait, vous avez raison, la famille de Gluck était tchèque et il a vécu une partie de son enfance dans les forêts de Bohême, mais il est effectivement né en Allemagne, à Erasbach. Le premier compositeur cosmopolite de l'histoire, qui le démontre bien dans cette œuvre absolument sublime, un des sommets de toute la musique.
