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Gluck: Paride et Elena
 
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Gluck: Paride et Elena

9 May 2005 | Format: MP3

£12.99 (VAT included if applicable)
Buy the CD album for £17.07 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title Artist
Time
Popularity  
30
1
4:11
30
2
2:30
30
3
3:09
30
4
1:01
30
5
2:29
30
6
2:41
30
7
4:51
30
8
2:49
30
9
1:28
30
10
3:06
30
11
0:42
30
12
1:12
30
13
1:09
30
14
2:29
30
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1:12
30
16
1:46
30
17
6:43
30
18
4:21
30
19
1:24
30
20
4:35
30
21
0:30
30
22
1:27
30
23
1:07
30
24
1:15
30
25
1:54
30
26
0:46
30
27
0:52
30
28
2:15
30
29
6:55
30
30
2:35
30
31
5:48
Disc 2
30
1
0:44
30
2
7:37
30
3
3:19
30
4
1:07
30
5
1:36
30
6
1:01
30
7
7:16
30
8
5:27
30
9
1:11
30
10
3:38
30
11
4:10
30
12
2:09
30
13
1:04
30
14
2:43
30
15
1:12
30
16
2:37
30
17
2:55
30
18
2:44
30
19
0:39
30
20
0:23
30
21
0:25
30
22
1:11
30
23
1:13
30
24
0:45
30
25
1:07
30
26
0:41
30
27
0:24
30
28
1:11
30
29
0:25
30
30
1:01
30
31
1:13
30
32
0:45
30
33
1:09
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Product details

  • Original Release Date: 1 Jan. 2005
  • Release Date: 9 May 2005
  • Number of Discs: 2
  • Label: Decca (UMO)
  • Copyright: (C) 2005 Deutsche Grammophon GmbH, Hamburg
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 2:24:14
  • Genres:
  • ASIN: B001RO83JI
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Bestsellers Rank: 204,966 in Albums (See Top 100 in Albums)

Customer Reviews

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Most Helpful Customer Reviews

19 of 19 people found the following review helpful By Kicek&Brys on 3 April 2006
Format: Audio CD
Gluck's fortunes have risen dramatically over the last decade, with new recordings of almost all his major operas and a few rarities too. "Paride ed Elena", his third and least known Italian "reform" opera, written for Vienna in 1770, is aptly described by Paul McCreesh in the booklet to this new recording as "buried treasure". The opera's relative lack of popularity might be due to the unusual plot. In many ways, "Paride ed Elena" is the polar opposite of Gluck's more famous musical dramas, which are tragic in feeling even if they have happy endings. The tone of the libretto is light and ironic, telling the story of the Trojan prince Paris' visit to Sparta to abduct the Greek princess Helen. Amore (Cupid) plays as big a role as he does in "Orfeo" in bringing the lovers together, but here he comes across as a cheeky, rococo matchmaker. The drama, such as it is, hinges on whether Helen will give in to Paris' seduction and, whatever her hesitations, we're never in much doubt what her final decision will be. Ironically, only in the ending is there any hint of tragedy. The goddess Pallas Athena appears descending on a cloud and angrily announces, not the usual happy resolution of the story, but the great disaster of the Trojan War which will result from Paris and Helen's elopement.
The opera might be virtually unknown but its music has gradually been seeping into public consciousness. In recent years arias from "Paride" have appeared with increasing frequency on opera recital discs, not least Magdalena Kozena's own "Le Belle Immagini" which took its title from one of the finest numbers here. Now we get a chance to hear them in context.
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1 of 1 people found the following review helpful By Ralph Moore TOP 50 REVIEWER on 8 Jun. 2012
Format: Audio CD
Despite its lovely moments, growing popularity and emergence from neglect over recent years, "Paride ed Elena" remains the Cinderella amongst Gluck's three so-called "Reform Operas" and perhaps deservedly so. It has a rather static plot consisting essentially of an extended love duet in which we proceed through much banter, flattery and the application of a variety of seduction techniques on the part of Paris abetted by Cupid towards Helen's inevitable surrender. The mood is predominantly light, ironic and playful until Pallas Athene drops in to remind everyone that this grand affair will result in Armageddon being unleashed upon the Ancient World.

For all that that are some supremely beautiful arias and duets, headed by the celebrated "Le belle immagini" there is also quite a lot of recitativo accompagnato which goes on a bit. Delightful moments such as Paris's extended scene in which he woos Helen accompanying himself on a lyre (a harp here, of course) and one is frequently enchanted by the delicacy and pathos of Gluck's melodic invention. The Gabrieli Consort and Choir are exemplary, with no exaggerated HIP mannerisms, just lovely, alert, exquisitely tuned accompaniment. The flatulent horns in the ballet are especially engaging. However, at times I felt that both McCreesh and the principal singer Magdalena Kozená needed to escape the confines of the concert performances this studio recording proceeded from; the lack of incident and a cast of four lighter voices ideally requires rather more passion to avoid an impression of prevailing languidness.

All the singers have lovely voices: as Amore, Carolyn Sampson's silvery tone is reminiscent of Kathleen Battle and both Gillian Webster and Susan Gritton are very stylish.
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Format: Audio CD Verified Purchase
Orfeo ed Euridice (1762) is the first and most famous of Gluck's 3 Italian "reform" operas, this is the last (1770) & least known. There is no great difference in quality, interest or beauty between them - but perhaps this has the weaker plot.
However, Paul McCreesh keeps it moving, and Magdelena Kozena sings beautifully and quite powerfully as Paris. The 3 main women have well differentiated voices, Susan Gritton's Elena is lyrical and full toned, while Carolyn Sampson as Amore hints at being - well, delightfully naughty. This is great Gluck.
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4 of 5 people found the following review helpful By D. P. Morriss on 3 April 2010
Format: Audio CD
Some extraordinarily beautiful music - many of which duets - sublimely sung. This is one of Gluck's greatest operas and this recording does it justice.
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By Alan Blandford on 24 Aug. 2014
Format: Audio CD Verified Purchase
Lovely music. Good recording.
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