| Joseph Haydn (1732-1809) - Orfeo ed Euridice (1997) |
| Cover Front | Album | ||||||||||||||||||
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| Track List | |||||
| Orfeo ed Euridice: Act I; Act II | 71:44 | ||||
| 01 | Ouverture | 04:16 | |||
| 02 | Act I: Sventurata, che fo? (Euridice) | 02:44 | |||
| 03 | Act I: Ferma, ferma il piede, o principessa! (Coro) | 02:14 | |||
| 04 | Act I: Che chiedete da me? (Euridice) | 01:00 | |||
| 05 | Act I: Filomena abbandonata (Euridice) | 05:31 | |||
| 06 | Act I: Cieli! Soccorso! Aita! (Corista I) | 01:50 | |||
| 07 | Act I: Rendete a questo seno (Orfeo) | 02:52 | |||
| 08 | Act I: Cara speme! Alme di scoglio! (Orfeo) | 06:25 | |||
| 09 | Act I: Oh prodigio, oh stupor (Corista I) | 01:13 | |||
| 10 | Act I: O poter dell'armonia! (Coro) | 00:40 | |||
| 11 | Act I: Ah, chi sa dirmi (Creonte) | 02:48 | |||
| 12 | Act I: Il pensier sta negli oggetti (Creonte) | 03:03 | |||
| 13 | Act I: Grazie agli dei (Orfeo) | 02:11 | |||
| 14 | Act I: Come il foco allo splendore (Orfeo) | 08:36 | |||
| 15 | Act II: Finché circola il vigore (Amornini) | 01:05 | |||
| 16 | Act II: Adorata consorte (Orfeo, Euridice) | 01:51 | |||
| 17 | Act II: Finché circola il vigore (Amorini) | 01:22 | |||
| 18 | Act II: Numi, che ascolto! (Euridice) | 02:03 | |||
| 19 | Act II: Ecco, signor, la principessa è sola (Corista II) | 01:08 | |||
| 20 | Act II: Dov'è, dovè l'amato bene? (Euridice) | 02:59 | |||
| 21 | Act II: Del mio core il voto estremo (Euridice) | 03:42 | |||
| 22 | Act II: Con Euridice estinte son le gelose cure (Corista I) | 00:33 | |||
| 23 | Act II: Dov'èquell'alma audace (Orfeo) | 04:21 | |||
| 24 | Act II: In un mar d'acerbe pene (Orfeo) | 04:06 | |||
| 25 | Act II: Euridice, signor (Corista IV) | 01:13 | |||
| 26 | Act II: Mai non sia multo (Creonte) | 01:58 | |||
| Orfeo ed Euridice: Act III; Act IV | 52:22 | ||||
| 01 | Act III: Ah, sposo infelice! (Vergini) | 05:06 | |||
| 02 | Act III: Al cielo te ne voli (Orfeo) | 02:39 | |||
| 03 | Act III: Ah, sposo infelice! (Vergini) | 01:37 | |||
| 04 | Act III: Che sarà mai d'Orfeo? (Creonte) | 00:25 | |||
| 05 | Act III: Chi spira e non spera (Creonte) | 03:44 | |||
| 06 | Act III: Venerata Sibilla (Orfeo) | 01:55 | |||
| 07 | Act III: Al tuo seno fortunato (Genio) | 06:01 | |||
| 08 | Act III: Costanza a me si chiede? (Orfeo) | 00:54 | |||
| 09 | Act III: La giustizia in cor regina (Coro) | 03:28 | |||
| 10 | Act IV: Infelici ombre dolenti (Coro [degli insepolti]) | 03:39 | |||
| 11 | Act IV: Che ascolto, oh numi! (Orfeo) | 00:29 | |||
| 12 | Act IV: Urli orrendi, disperati (Coro di Furie) | 02:21 | |||
| 13 | Act IV: O signor, che all'ombre imperi (Orfeo) | 00:18 | |||
| 14 | Act IV: Trionfi oggi pietà (Coro) | 00:46 | |||
| 15 | Act IV: O della reggia mia (Pluto) | 01:08 | |||
| 16 | Act IV: Intermezzo | 00:46 | |||
| 17 | Act IV: Quai dolci e care note ascolto! (Orfeo) | 00:30 | |||
| 18 | Act IV: Son finite le tue pene (Coro) | 00:34 | |||
| 19 | Act IV: Sovvengati la legge (Genio) | 01:21 | |||
| 20 | Act IV: Perduto un'altra volta (Orfeo) | 02:29 | |||
| 21 | Act IV: Mi sento languire (Orfeo) | 03:47 | |||
| 22 | Act IV: Barbaro, infido amore (Orfeo) | 00:12 | |||
| 23 | Act IV: Vieni, vieni, amato Orfeo (Coro di Baccanti) | 01:14 | |||
| 24 | Act IV: Perfide, non turbate di più (Orfeo) | 00:26 | |||
| 25 | Act IV: Bevi, bevi in questa tazza (Baccanti) | 03:15 | |||
| 26 | Act IV: Andiamo, amiche, andiamo (Baccanti) | 00:44 | |||
| 27 | Act IV: Oh, che orrore! (Baccanti) | 02:34 | |||
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| Notes |
| Euridice: Cecilia Bartoli
Orfeo: Uew Heilmann Genio: Ceclilia Bartoli Creonte: Ildebrando D'Arcangelo Pluto: Andrea Silvestrelli Corista I: Roberto Scaltriti Corista II: Jose Fardilha Corista III: Colin Campbell Corista IV: James Oxley Una baccante: Angela Kazmierczuk Notes, illustrations, text and translations Essay: "Haydn's London opera - Lanima del filosofo" by H.C. Robbins Landon Essay: "Aspects of a Character" by Cecilia Bartoli Gramophone review: "When Haydn was finally released from his duties at Esterhazy by the death of Prince Nicolaus in 1790, he arrived in Vienna where he met Salomon who immediately poached him for England with a commission which included the "London" Symphonies - and an opera. Political and theatrical intrigues (plus ca change) prevented L’anima del filosofo from being staged, and it was not until 1951 in Florence that Haydn’s Orpheus opera ever confronted the greasepaint. It was recorded a year later by the Vienna State Opera (Haydn Society, 10/52 - nla), and then not again until 1992, when Leopold Hager and his Munich forces took it on. After such a long wait, it was all the more disappointing when, despite a promising cast led by Robert Swenson and Helen Donath, this 1995 release asked so few questions of Haydn’s unique approach to the Orpheus myth, offering an affectionate but anodyne reading of a vividly distinctive score. "At last, a truly searching, period-instrument performance is available. Christopher Hogwood builds his band on the model of those prevalent in late-eighteenth-century London theatres. Not only does his phrasing and articulation discover no end of both witty and poignant nuances which Hager’s blander, more svelte direction ignores, but the grave austerity of the string playing, and the plangency of the early woodwind instruments are eloquent advocates of an opera whose uncompromisingly tragic ending (even the seductive Bacchantes perish) owes more to Ovid and Milton than to operatic tradition. "Hogwood also remembers that Haydn was writing for a Handelian London choral tradition: his chorus, be they cast as Cupids, Shades or Furies, have robust presence (in Munich they could be in an adjacent studio), and sculpt their lines with firm muscle. Cecilia Bartoli takes the role of Euridice. In her very first aria, "Filomena abbandonata", she understands and eagerly recreates the type of coloratura writing which simultaneously fleshes out the central nightingale simile and incarnates the single word "crudelta". Her unmistakable, melting half-voice comes into its own as emotion first clouds reason, only to create the fatal emotional extremes to which she gives voice so thrillingly. "Not for nothing is this Orfeo ed Euridice first called L’anima del filosofo. Its typically eighteenth-century aspect and temper is focused in Bartoli’s alter ego, Genio, the sibyl who is Orfeo’s own second self and spiritual guide. She offers, with disarming simplicity, the "herb of philosophy" and reason, then gives feisty and unfaltering coloratura urging to constancy and valour. "Uwe Heilmann is just the tenor of rare agility and wide vocal range vital for this particular Orfeo. A more spacious tone than Swenson’s gives room for soave accenti as well as heroism; though in slower, more sustained passages I craved a leaner approach. The minor parts are more strongly profiled than in Hager’s recording: Ildebrando d’Arcangelo is a stern, noble Creonte, Andrea Silvestrelli a fearsome, stentorian Pluto - and there’s even a convincing strepito ostile off-stage as Euridice’s abduction is attempted in Act 2. Beyond the detail, it is above all the unique poignancy of the musical drama at the heart of this strange, grave Orfeo which Hogwood discovers, not before time, and reveals with such sympathetic and compelling imaginative insight." |