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Home »
Composers »
German Composers »
Gluck
Christoph Willibald Ritter von Gluck
(The composer called himself simply Christoph Gluck.)
 Performances
Internationale Gluck-Opern-Festspiele Nürnberg 2012
Review of
Gluck, Armide, performed by Opera Lafayette & the New
York Baroque Dance Company, 3 February 2010.
Links
Biography -
HOASM
The
Portraits of Christoph Willibald Ritter von Gluck
The Castrato Ascendancy by Richard Somerset-Ward from Angels and Monsters,
Yale University Press 2004.
Yahoo Group: Gluck [Latest
messages]
Recordings
| Handel, Hasse, Smith, Arne, Gluck,
Guadagni. Arias for Guadagni - The First Modern
Castrato. Hyperion CDA 67924 (1 CD, May 2012).
Details. Iestyn Davies, countertenor. Jonathan
Cohen, Arcangelo.
US |
UK |
FR |
DE |
CA |
JP |
 Gluck. Il Trionfo di Clelia
(Bologna 1763). MDG 609 1733-2 (3 CDs, March
2012).
Video. Giuseppe Sigismondi de Risio, Armonia Atenea.
Clelia: Hélène Le Corre, soprano; Orazio: Mary-Ellen
Nesi, mezzo-soprano; Tarquinio: Irini Karaianni,
mezzo-soprano; Larissa: Burçu Uyar, soprano; Porsenna:
Vassilis Kavayias, tenor; Mannio: Florin Cesar Ouatou,
countertenor. Overall a nice recording of a great opera,
but I would have preferred harpsichord rather than
fortepiano continuo. Libretto in Italian only, and
there's no historical English translation of this
Metastasio libretto. When the greedy record companies
charge full price for an opera but fail to provide an
English libretto translation when none is available
elsewhere, who can blame consumers for copying?
US |
UK |
FR |
DE |
CA |
JP |
 Gluck. Ezio (Prague version,
1750). Virgin Classics 0709292 (2 CDs, September 2011). Alan
Curtis, Il Complesso Barocco. Onorio: Mayuko Karasava,
soprano; Fulvia: Ann Hallenberg,
mezzo-soprano; Ezio: Sonia Prina, contralto;
Valentiniano III: Max Emanuel Cencic, countertenor;
Massimo: Topi Lehtipuu, tenor; Varo: Julian Prégardien,
tenor. Of the three recent HIP recordings of Ezio, this
is the only studio recording,
and it has my favorite cast of the three. Missing more than 43 minutes of
music (mostly recitative) included in the Coviello
recording, which I also recommend. The Oehms recording
of the revised 1763/64 Vienna version is horribly
overloaded and virtually unlistenable. I: 69:27; II: 77:26.
US |
UK |
FR |
DE |
CA |
JP |
| Gluck. Five Symphonies. cpo 777
411-2 (1 CD, May 2011). Michi Gaigg, L'Orfeo
Barockorchester.
US |
UK |
FR |
DE |
CA |
JP |
| Gluck. Blessed Spirit - The Operas of Gluck. Wigmore Hall Live WHLive0037 (1 CD, May 2010). Details. Ian Page, Classical Opera Company. Sophie Bevan, soprano; Ailish Tynan, soprano; Anna Stéphany, mezzo-soprano. Arias from Semiramide riconosciuta, Ezio, La clemenza di Tito, Antigono, Telemaco, Il re pastore, L'ivrogne corrigé, Orfeo ed Euridice, Alceste, Paride ed Elena, Iphigénie en Aulide &
Armide. A dull and annoying recording. There's
lots of heavy vibrato, and every cut ends with
applause that should have been deleted.
US | UK | FR | DE | CA | JP |
| Gluck. Le Cinesi (Serenata, Schlosshof
1754, Vienna 1755). Virgin Classics. Forthcoming. Alan
Curtis, Il Complesso Barocco. Tangia: Ann Hallenberg,
mezzo-soprano. Silango: Topi Lehtipuu, tenor. See Heartz, Haydn, Mozart, etc. pp. 152-3
for his translation of Dittersdorf's detailed description of the
staging. |
 Gluck.
Ezio (Vienna version, 1763/64). Oehms Classics OC 918 (2 CDs,
May 2008). Michael Hofstetter, Chor und Orchester der
Ludwigsburger Schlossfestspiele. Fulvia: Kirsten Blaise,
soprano; Onoria: Sophie Marin-Degor, soprano; Varo: Netta Or,
soprano; Valentiniano III: Ruth Sandhoff,
mezzo-soprano; Ezio: Franco
Fagioli, countertenor; Massimo: Stefano Ferrari, tenor.
Terrible, overloaded live recording that's virtually
unlistenable. Useful for the revised arias in the 1763 version,
however. I: 62:19; II: 78:50.
US |
UK |
FR |
DE |
CA |
JP |
 Gluck.
Ezio (Prague version, 1750). Coviello COV
20713 (3 CDs, September 2007). Andreas Stoehr, Neue Düsseldorfer
Hofmusik. Valentiniano III: Max Emanuel Cencic, countertenor;
Fulvia: Mariselle Martínez, mezzo-soprano; Ezio: Matthias
Rexroth, countertenor; Onoria: Netta Or, soprano; Massimo: Mirko
Roschkowski, tenor; Varo: Andreas Post, tenor. A generally
competent live recording that includes more than 43 minutes of
music missing from the Curtis recording. The great vocal
deficiency versus Curtis is in the role of Fulvia, in which
Hallenberg is vastly superior to Martínez. I: 79:00; II: 68:37;
III: 44:01.
US |
UK |
FR |
DE |
CA |
JP |
| Carestini - The Story of a Castrato.
Naïve 00946 3 95242 2 8 (1 CD, October 2007).
Details. Philippe Jaroussky, countertenor. Emmanuel Haïm, Le
Concert d'Astrée. Includes an aria from Gluck's
Demofoonte.
US |
UK |
FR |
DE |
CA |
JP |
| Gluck. Bauci e Filemone & Aristeo
(Parma 1769). Ambroisie/Naïve AMB 9995 (2 CDs, June 2006).
Details. Two independent acts of the opera-ballet Le
Feste d'Apollo, commissioned for the marriage of Ferdinand,
Duke of Parma and grandson of Louis XV, and Maria Amalia,
Archduchess of Austria. In addition to the two acts (mostly)
recorded here, the opera began with a prologue and included an
altered version of Orfeo for the soprano castrato Millico.
The live recording cut off the lower frequencies, as in a
substandard radio broadcast. The two recorded acts are short,
leaving plenty of room for the missing prologue, which contains
a great aria for trumpet and soprano. At least the printed
libretto of the two acts includes the texts omitted in the
recording. Christophe Rousset, Les Talens Lyriques, Choeur de
Chambre de Namur. Aristeo & Una Pastorella: Ann Hallenberg,
mezzo-soprano; Ati & Giove: Magnus Staveland, tenor; Cirene &
Bauci: Ditte Andersen, soprano; Cidippe, Filemone & Silvia:
Marie Lenormand, mezzo-soprano.
US |
UK |
FR |
DE |
CA |
JP |
 Gluck.
Paride ed Elena (Vienna 1770). DG-Archiv 477 541-5 (2
CDs, May 2005).
Details. Paul McCreesh, Gabrieli Consort & Players. Paride:
Magdalena Kožená, soprano; Elena: Susan Gritton, soprano; Amore:
Carolyn Sampson, soprano; Pallade: Gillian Webster, soprano.
"Digging for Buried Treasure: Interview with Paul McCreesh" by
Nick Kimberley. Gluck's third and final operatic
collaboration with Calzabigi, after their triumphal successes
with Orfeo and Alceste. Daniel Heartz writes: "The
new opera was a fiasco, for which Calzabigi is generally
blamed." (Haydn, Mozart, etc., p. 232.) The soprano
castrato Millico sang Paride, and the other roles were taken by
female sopranos.
US |
UK |
DE |
FR |
CA |
JP |
| Gluck. Iphigénie en Tauride (Paris
1779). DG-Archiv 471 133-2 (2 CDs 2001). Marc Minkowski, Les
Musiciens du Louvre. Iphigénie: Mireille Delunsch, soprano;
Oreste: Simon Keenlyside, tenor; Pylade: Yann Beuron, tenor;
Thoas: Laurent Naouri, bass; Diane: Alexia Cousin, soprano;
Première Prêtresse: Claire Delgado-Boge, soprano; Deuxième
Prêtresse: Nicki Kennedy, soprano; Un Scythe / Le Ministre du
Sanctuaire: Laurent Alvaro, baritone; Une Femme Grecque: Michèle
Norman-Webb, soprano. Superb performance and recording of
Gluck's finest French opera. The opera opens with a minuet,
which quickly gives way to possibly the greatest storm music
ever written. Today, we notice a similarity to the opening of
Handel's Riccardo Primo, which would have been unknown to
the Paris audience and presumably to Gluck. See Heartz, Music
in European Capitals, pp. 852-873 & Julie Cummings, "Gluck's
Iphigenia operas: sources & strategies" in Bauman & McClymonds,
Opera and the Enlightenment.
US |
UK |
DE |
FR |
CA |
JP |
 Gluck.
L' Innocenza giustificata (Festa teatra, Vienna 1755). dhm
8287658796-2 (2 CDs, March 2004).
NewOlde.com 2004 Best Classical Opera Recording.
Christopher Moulds, Cappella Coloniensis, ChorWerk Ruhr.
Claudia: Maria Bayo, soprano; Valerio: Andreas Karasiak, tenor;
Flaminia: Marina De Liso, mezzo-soprano; Flavio: Verónica
Cangemi, soprano.
US |
UK |
DE |
FR |
CA |
JP |
 Gluck.
Orphée et Eurydice (Paris 1774). DG-Archiv 471 582-2 (2
CDs 2004), 474 993-2 (2 SACD Hybrids) & 474 994-2 (2 SACDs).
NewOlde.com 2004 Best Classical Opera Recording. Marc
Minkowski, Les Musiciens du Louvre. Orphée: Richard Croft,
tenor; Euridyce: Mireille Delunsch, soprano; Amour: Marion
Harousseau, soprano. CD:
US |
UK |
DE |
FR |
CA |
JP || SACD Hybrid:
US |
UK |
DE |
FR |
CA |
JP |
| Gluck. Orphée et Eurydice (Paris 1774).
Naxos 8.66185-86 (2 CDs 2005). Ryan Brown, Opera Lafayette.
Orphée: Jean-Paul Fouchécourt, haute-contre; Suzie Le Blanc,
soprano; Catherine Dubosc, soprano. Another HIP recording of
Orphée now arrives within a year of the first. Minkowski's
version is a tough act to follow.
US |
UK |
DE |
FR |
CA |
JP |
 Gluck.
Orfeo ed Euridice (Vienna 1762). Harmonia Mundi HMC 901742/3
(2 CDs 2001). René Jacobs, Freiburger Barockorchester, RIAS
Kammerchor. Orfeo: Bernarda Fink, contralto; Euridice: Verónica
Cangemi, soprano; Amor: Maria Cristina Kiehr, soprano. I prefer
this recent recording with a contralto Orfeo to the Kuijken and
Gardiner recordings with René Jacobs and Derek Lee Ragin
respectively. Hopefully someone will record the unreformed
London version, arranged for Guadagni by J.C. Bach. It included
more arias by Bach than Gluck.
US |
UK |
DE |
FR |
CA |
JP |
| Gluck. Armide (Paris 1777). DG-Archiv
459 616-2 (2 CDs 1999). Marc Minkowski, Les Musiciens du Louvre.
Armide: Mireille Delunsch, soprano; Renaud: Charles Workman,
tenor; Hidraut: Laurent Naouri, bass; La Haine: Ewa Podles,
contralto; Phénice / Mélisse: Françoise Masset, mezzo-soprano;
Sidonie / Une Bergère / Lucinde: Nicole Heaston, soprano; Un
Plaisir: Magdalena Kožená, mezzo-soprano; Une Naïade: Valérie
Gabail, soprano; Aronte: Vincent Le Texier, baritone; Artémidore
/ Le Chevalier danois: Yann Beuron, tenor; Ubalde: Brett
Polegato, baritone. A fine recording of Gluck's opera on the
same Quinault libretto set by Lully. Gluck based a chaconne on a
theme by Lully.
US |
UK |
DE |
FR |
CA |
JP |
 Gluck.
Don Juan (Vienna 1761) & Semiramis (Vienna 1765).
Ballet Pantomimes. Sony Vivarte SK 53119 (1 CD 1993). Bruno
Weil, Tafelmusik.
US |
UK |
DE |
FR |
CA |
JP |
| Gluck. Trio Sonatas. Challenge Classics
72122 (1 CD 2004). Reinhard Goebel, violin, Musica Antiqua Köln.
Stephan Schardt, violin; Klaus-Dieter Brandt, cello; Leon Berben,
harpsichord.
US |
UK |
DE |
FR |
CA |
JP |
 Gluck.
Lieder et musique de chambre. Assai 222 272 (1 CD 2002).
Martin Gester, Le Parlement de Musique. Kirsten Blases, Stéphan
van Dyck. "An attractive recital, which intersperses vocal
numbers among trio sonatas." Peter Branscombe, Early Music
Review 9/02.
UK |
FR |
DE |
 Gluck.
Il Parnaso Confuso (Serenata, Vienna 1765). Agorà Musica
"Baroque Way" AG 281.1 (1 CD 2001). Adriano Bassi, Gruppo
Barocco Musincanto. Apollo: Dan Shen, sopranist; Melpomene:
Desirée Restivo, soprano; Euterpe: Ilaria Torciani, soprano;
Erato: Magdalena Aparta, soprano. The four oldest daughters of
Maria Theresa comprised the original cast, while 9-year-old
Marie Antoinette performed as a dancer. This CD went out of
print very quickly.
UK |
FR |
DE |
JP |
 Gluck.
Italian Arias.
 Decca
467 248-2 (1 CD); 470 611-2 (1 SACD). Cecilia Bartoli, Bernard
Forck, Akademie für Alte Musik Berlin. Bartoli should have been
a mime. Her greatest strengths are her facial expressions and
her ability to sell overpriced tickets to star-struck fans. Her
greatest weakness is her wobbly and raspy voice, which should be
permanently retired. Yet another CD with an obnoxious, strumming
guitar. Not well recorded. The best feature: a nice booklet!
CD:
US |
UK |
DE |
FR |
CA || SACD:
US |
UK |
DE |
FR |
CA |
| Gluck. Alceste (Paris version 1776).
Philips Classics. 289 470 293-2 (2 CDs 2002). John Eliot
Gardiner, English Baroque Soloists, Monteverdi Choir. Alceste:
Anne Sofie von Otter, mezzo-soprano; Admète: Paul Groves, tenor;
Le Grand-Prêtre d'Apollon / Hercule: Dietrich Henschell, bass;
Evandre: Yann Beuron, tenor; Un Hérault d'armes / Apollon:
Ludovic Tézier, baritone; L'Oracle / Un Dieu Infernal: Nicolas
Testé, bass; Coryphées: Joanne Lunn, soprano; Katharine Fuge,
soprano. (Audio-only release of the incomplete 2000 DVD.) The
French version is quite different from the original Vienna
version, and this recording is the best to date of either
version.
US |
UK |
DE |
FR |
CA |
JP |
| Gluck. Alceste (Vienna version 1767).
Naxos 8.660066/68 (3 CDs 1999). Arnold Östman, Drottningholm
Theatre Orchestra & Chorus. Alceste: Theresa Ringholz, soprano;
Admeto: Justin Lavender, tenor; Evandro: Jonas Degerfeldt,
tenor; Ismene: Miriam Treichl, soprano; Gran sacerdote / Apollo:
Lars Martinsson, baritone; Eumelo: Adam Giertz, treble; Aspania:
Emelie Clausen, treble; Un banditore: Mattias Nilsson, baritone;
L'oracolo: Johan Lilja, bass. How far the Drottningholm group
have fallen since their excellent Mozart opera recordings on
L'Oiseau-Lyre! This sounds like an unrehearsed production
recorded through a crack in the ceiling. It's excruciatingly
boring, even though Alceste is a great opera. Considering
the small amount Naxos must have paid, Drottningholm might have
been better advised to pass up the money to preserve their
reputation. For an analysis of the opera, see Heartz, Haydn,
Mozart, etc., pp. 217-234.
US |
UK |
DE |
FR |
CA |
JP |
| Gluck. Echo et Narcisse (Paris 1779).
Harmonia Mundi HMC 5201/02 (2 LPs) & HMC 905201/02 (2 CDs 1987).
René Jacobs, Concerto Köln. Echo: Sophie Boulin, soprano;
Narcisse: Kurt Streit, tenor; Amour: Deborah Massell, soprano;
Eglé: Gertrud Hoffstedt, soprano; Aglaé: Christina Högman,
soprano; Cynire: Peter Galliard, tenor; Thanais: Hanne Krogen;
Sylphie: Eva Marie Tersson; Premier Berger: Seiji Makino;
Deuxième Berger: Janusz Niziolek. Very poor recorded sound on
this live recording.
US |
UK |
FR |
DE |
CA |
JP |
| Gluck. Le Cinesi (Serenata, Schlosshof
1754, Vienna 1755). dhm 065 EL 16 9575 1 (1 LP 1986) & CDC 7
47752 2 (1 CD). Reissued on dhm Editio Classica GD 77174. René
Jacobs, Das Orchester der Schola Cantorum Basiliensis. Sivene:
Isabelle Poulenard, soprano; Tangia: Gloria Banditelli,
contralto; Lisinga: Anne Sophie von Otter, contralto; Silango:
Guy de Mey, tenor. See Heartz, Haydn, Mozart, etc. pp.
152-3 for his translation of Dittersdorf's detailed description
of the staging.
US |
UK |
DE |
FR |
CA |
JP Reissued in April 2005 on dhm Splendeurs
82876683542. Other Splendeurs releases have included the
original notes. The LP of Le Cinesi included the Italian
libretto with only a German translation.
US |
UK |
DE |
FR |
CA |
JP |
Books
| Bruce Alan Brown. Gluck and the French
Theatre in Vienna. Excellent, detailed account of opera and
ballet in Vienna in the years around 1760. Includes numerous
translations from Dittersdorf's autobiography, which is one of
the best original sources. 525 pages. Oxford University Press
1991.
US |
UK |
DE |
FR |
CA |
JP |
| Rebecca Harris-Warrick & Bruce Alan Brown
(eds.) The Grotesque Dancer on the Eighteenth-Century Stage:
Gennaro Magri and His World.
Details. 384 pages. University of Wisconsin Press 2005.
US |
UK |
DE |
FR |
CA |
JP |
| Patricia Howard. Christoph Willibald Gluck:
A Guide to Research. 256 pages. Routledge 2003.
US |
UK |
DE |
FR |
CA |
JP |
 Daniel
Heartz. Music in European Capitals: The Galant Style,
1720-1780. 1078 pages. Norton, 2003.
Details. Chapter 8 (pages 801-881): "Gluck at the Opéra
[Paris]". Superb continuation of Heartz's survey of musical
highlights of the 18th Century. A third volume is in
preparation.
US |
UK |
DE |
FR |
CA |
JP |
 Daniel
Heartz. Haydn, Mozart and the Viennese School: 1740-1780.
Norton, 1995. Highly recommended. A very well written and well
organized book. Includes a chapter about Gluck and his operas.
US |
UK |
DE |
FR |
CA |
JP |
 Thomas
Bauman & Marita Petzoldt McClymonds (eds.) Opera and the
Enlightenment. Cambridge University Press 1995.
Details. Excellent collection of scholarly essays dedicated
to Daniel Heartz.
US |
UK |
DE |
FR |
CA |
JP |
Music
| Christoph Willibald Gluck. Complete Works.
Founded by Rudolf Gerber. Edited by Gerhard Croll.
Bärenreiter. Approximately 60 volumes.
List of contents. |
www.newolde.com/gluck.htm
|
|
Gluck. Il Trionfo di Clelia
(Bologna 1763). MDG 609 1733-2 (3 CDs, March
2012).
Video. Giuseppe Sigismondi de Risio, Armonia Atenea.
Clelia: Hélène Le Corre, soprano; Orazio: Mary-Ellen
Nesi, mezzo-soprano; Tarquinio: Irini Karaianni,
mezzo-soprano; Larissa: Burçu Uyar, soprano; Porsenna:
Vassilis Kavayias, tenor; Mannio: Florin Cesar Ouatou,
countertenor. Overall a nice recording of a great opera,
but I would have preferred harpsichord rather than
fortepiano continuo. Libretto in Italian only, and
there's no historical English translation of this
Metastasio libretto. When the greedy record companies
charge full price for an opera but fail to provide an
English libretto translation when none is available
elsewhere, who can blame consumers for copying?
US |
UK |
FR |
DE |
CA |
JP
Gluck. Ezio (Prague version,
1750). Virgin Classics 0709292 (2 CDs, September 2011). Alan
Curtis, Il Complesso Barocco. Onorio: Mayuko Karasava,
soprano; Fulvia: Ann Hallenberg,
mezzo-soprano; Ezio: Sonia Prina, contralto;
Valentiniano III: Max Emanuel Cencic, countertenor;
Massimo: Topi Lehtipuu, tenor; Varo: Julian Prégardien,
tenor. Of the three recent HIP recordings of Ezio, this
is the only studio recording,
and it has my favorite cast of the three. Missing more than 43 minutes of
music (mostly recitative) included in the Coviello
recording, which I also recommend. The Oehms recording
of the revised 1763/64 Vienna version is horribly
overloaded and virtually unlistenable. I: 69:27; II: 77:26.
US |
UK |
FR |
DE |
CA |
JP
Gluck.
Ezio (Vienna version, 1763/64). Oehms Classics OC 918 (2 CDs,
May 2008). Michael Hofstetter, Chor und Orchester der
Ludwigsburger Schlossfestspiele. Fulvia: Kirsten Blaise,
soprano; Onoria: Sophie Marin-Degor, soprano; Varo: Netta Or,
soprano; Valentiniano III: Ruth Sandhoff,
mezzo-soprano; Ezio: Franco
Fagioli, countertenor; Massimo: Stefano Ferrari, tenor.
Terrible, overloaded live recording that's virtually
unlistenable. Useful for the revised arias in the 1763 version,
however. I: 62:19; II: 78:50.
US |
UK |
FR |
DE |
CA |
JP
Gluck.
Ezio (Prague version, 1750). Coviello COV
20713 (3 CDs, September 2007). Andreas Stoehr, Neue Düsseldorfer
Hofmusik. Valentiniano III: Max Emanuel Cencic, countertenor;
Fulvia: Mariselle Martínez, mezzo-soprano; Ezio: Matthias
Rexroth, countertenor; Onoria: Netta Or, soprano; Massimo: Mirko
Roschkowski, tenor; Varo: Andreas Post, tenor. A generally
competent live recording that includes more than 43 minutes of
music missing from the Curtis recording. The great vocal
deficiency versus Curtis is in the role of Fulvia, in which
Hallenberg is vastly superior to Martínez. I: 79:00; II: 68:37;
III: 44:01.
US |
UK |
FR |
DE |
CA |
JP
Gluck.
Paride ed Elena (Vienna 1770). DG-Archiv 477 541-5 (2
CDs, May 2005).
Details. Paul McCreesh, Gabrieli Consort & Players. Paride:
Magdalena Kožená, soprano; Elena: Susan Gritton, soprano; Amore:
Carolyn Sampson, soprano; Pallade: Gillian Webster, soprano.
"Digging for Buried Treasure: Interview with Paul McCreesh" by
Nick Kimberley. Gluck's third and final operatic
collaboration with Calzabigi, after their triumphal successes
with Orfeo and Alceste. Daniel Heartz writes: "The
new opera was a fiasco, for which Calzabigi is generally
blamed." (Haydn, Mozart, etc., p. 232.) The soprano
castrato Millico sang Paride, and the other roles were taken by
female sopranos.
US |
UK |
DE |
FR |
CA |
JP
Gluck.
L' Innocenza giustificata (Festa teatra, Vienna 1755). dhm
8287658796-2 (2 CDs, March 2004).
NewOlde.com 2004 Best Classical Opera Recording.
Christopher Moulds, Cappella Coloniensis, ChorWerk Ruhr.
Claudia: Maria Bayo, soprano; Valerio: Andreas Karasiak, tenor;
Flaminia: Marina De Liso, mezzo-soprano; Flavio: Verónica
Cangemi, soprano.
US |
UK |
DE |
FR |
CA |
JP
Gluck.
Orphée et Eurydice (Paris 1774). DG-Archiv 471 582-2 (2
CDs 2004), 474 993-2 (2 SACD Hybrids) & 474 994-2 (2 SACDs).
NewOlde.com 2004 Best Classical Opera Recording. Marc
Minkowski, Les Musiciens du Louvre. Orphée: Richard Croft,
tenor; Euridyce: Mireille Delunsch, soprano; Amour: Marion
Harousseau, soprano. CD:
US |
UK |
DE |
FR |
CA |
JP || SACD Hybrid:
US |
UK |
DE |
FR |
CA |
JP
Gluck.
Orfeo ed Euridice (Vienna 1762). Harmonia Mundi HMC 901742/3
(2 CDs 2001). René Jacobs, Freiburger Barockorchester, RIAS
Kammerchor. Orfeo: Bernarda Fink, contralto; Euridice: Verónica
Cangemi, soprano; Amor: Maria Cristina Kiehr, soprano. I prefer
this recent recording with a contralto Orfeo to the Kuijken and
Gardiner recordings with René Jacobs and Derek Lee Ragin
respectively. Hopefully someone will record the unreformed
London version, arranged for Guadagni by J.C. Bach. It included
more arias by Bach than Gluck.
US |
UK |
DE |
FR |
CA |
JP
Gluck.
Don Juan (Vienna 1761) & Semiramis (Vienna 1765).
Ballet Pantomimes. Sony Vivarte SK 53119 (1 CD 1993). Bruno
Weil, Tafelmusik.
US |
UK |
DE |
FR |
CA |
JP
Gluck.
Il Parnaso Confuso (Serenata, Vienna 1765). Agorà Musica
"Baroque Way" AG 281.1 (1 CD 2001). Adriano Bassi, Gruppo
Barocco Musincanto. Apollo: Dan Shen, sopranist; Melpomene:
Desirée Restivo, soprano; Euterpe: Ilaria Torciani, soprano;
Erato: Magdalena Aparta, soprano. The four oldest daughters of
Maria Theresa comprised the original cast, while 9-year-old
Marie Antoinette performed as a dancer. This CD went out of
print very quickly.
UK |
FR |
DE |
JP
Gluck.
Italian Arias.
Decca
467 248-2 (1 CD); 470 611-2 (1 SACD). Cecilia Bartoli, Bernard
Forck, Akademie für Alte Musik Berlin. Bartoli should have been
a mime. Her greatest strengths are her facial expressions and
her ability to sell overpriced tickets to star-struck fans. Her
greatest weakness is her wobbly and raspy voice, which should be
permanently retired. Yet another CD with an obnoxious, strumming
guitar. Not well recorded. The best feature: a nice booklet!
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Daniel
Heartz. Music in European Capitals: The Galant Style,
1720-1780. 1078 pages. Norton, 2003.
Details. Chapter 8 (pages 801-881): "Gluck at the Opéra
[Paris]". Superb continuation of Heartz's survey of musical
highlights of the 18th Century. A third volume is in
preparation.
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Daniel
Heartz. Haydn, Mozart and the Viennese School: 1740-1780.
Norton, 1995. Highly recommended. A very well written and well
organized book. Includes a chapter about Gluck and his operas.
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Thomas
Bauman & Marita Petzoldt McClymonds (eds.) Opera and the
Enlightenment. Cambridge University Press 1995.
Details. Excellent collection of scholarly essays dedicated
to Daniel Heartz.
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