[SACD-R][OF] Les Musicience du Louvre, Marc Minkowski - Gluck: Orphée et Eurydice (Version parisienne de 1774) - 2004 (Opera)

01. Ouverture
02. Ah! dans ce bois
03. Vos plaintes, vos regrets
04. Pantomime
05. Ah! dans ce bois
06. Eloignez-vous
07. Ritournelle
08. Objet de mon amour!
09. Eurydice! ombre chère!
10. Accablé de regrets
11. Eurydice! Eurydice!
12. Plein de trouble
13. Divinités de l'Achéron
14. L'Amour vient au secours
15. Si les doux accords
16. Soumis au silence
17. Impitoyables Dieux!
18. L'espoir renaît
19. Maestoso
20. Quel est l'audacieux
21. Air de Furies
22. Quel est l'audacieux
23. Laissez-vous toucher
24. Qui t'amène
25. Ah! la flamme
26. Par quels puissants accords
27. La tendresse qui me presse
28. Quels chants doux
29. Air de Furies
30. Ballet des Ombres heureuses
31. Cet asile aimable
32. Quel nouveau ciel
33. Viens dans ce séjour
34. Lent [Danse des ombres heureuses.
35. Ô vous, Ombres
36. Près du tendre objet

01. Viens, viens, Eurydice
02. Viens, suis un époux
03. Mais d'où vient
04. Fortune ennemie! Je goûtais
05. Quelle épreuve cruelle!
06. J'ai perdu mon Eurydice
07. Ah! puisse ma douleur
08. Arrête, Orphée!
09. Tendre amour
10. L'Amour triomphe
11. Gracieux
12. Gavotte
13. Air vif
14. Menuet
15. Maestoso
16. Très lentement
17. Chaconne

Marc Minkowski conducts Gluck’s most popular opera, Orphee et Eurydice. It is a live recording of the 1774 version, in which the role of Orphee is sung by a tenor. No mere transcription of the earlier Italian version, this is a considerably extended and more dramatic new work.
Review of the RBCD from The Guardian
Gluck’s best-known work has been part of the opera repertory for nearly two centuries, but it is only since the rise of period performances and an increased awareness of musicological correctness that his version of the story of Orpheus and Euridice has been separated into two distinct works.
First there was Orfeo ed Euridice, the azione teatrale with its Italian text and castrato hero, that was first performed in Vienna in 1762. Though that original version rapidly established itself across Europe, there then came Orphée et Eurydice, Gluck’s reworking of the piece as a much more imposing tragedie opera , which he made at the behest of Marie Antoinette and which appeared in Paris 12 years later after the premiere.
The libretto was revised and in this later score, Orpheus became a high tenor, with the key scheme adjusted accordingly; a good deal of extra decoration was added to the vocal lines, and a full-length ballet, containing the famous Dance of the Blessed Spirits, crowns the rejoicing in the final scene.
It was this later Orphée that formed the basis of the score Berlioz made in the mid-19th century specifically for the singer Pauline Viardot, restoring many of the original keys while keeping much of the extra music Gluck had composed for 1774. That hybrid, often modified, held sway for more than a century before period niceties began to require something more authentic, and performances of the 1762 version became more common.
Yet the later Orphée, as Gluck envisaged it, remains a rarity, so much so that this recording, taken from stage performances in Poissy, France, two years ago, is the first of the complete 1774 score using period instruments.
It is thrilling to hear, mainly because the playing and choral singing of Les Musiciens du Louvre under Marc Minkowski is so direct and boldly theatrical. If Gluck’s operas all too often seem anaemically restrained, this performance is a revelation – grippingly dramatic. Hearing the thrilling effects that Minkowski conjures from his players and soloists, it is much easier to see why Gluck was such an important model for many 19th-century opera composers, including Berlioz. Nothing is wasted theatrically. The solo singing, especially from Mireille Delunsch’s Eurydice and Richard Croft’s Orphée, is very accomplished, and both of them make a pleasing, unforced sound with stylish ornamentation.

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