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Once you listen to this account, it's easily understandable just why Orfeo ed Euridice has become the most famous opera by Christoph Willibald Gluck. Based on the well-known story from antiquity, Gluck composed a varied, engrossing music full of melodious arias, stirring dances, and dramatic duets and choruses. Conductor René Jacobs has decided here to eschew countertenor casting, with the result that we can enjoy mezzo-soprano Bernarda Fink as Orfeo. She interprets the part of the lovesick hero with vocal precision, stylistic assurance and admirably clear articulation. Her voice radiates warmth and resonates beautifully but at the same time with strength--especially in the highly dramatic Act III, which she, together with Veronica Cangemi (Euridice), shapes with an almost stormy emotional fervour. Maria Christina Kiehr sings with angelic beauty as Amore, while Jacobs leads the Freiburg Baroque Orchestra and the Rias Chamber Choir with verve and sweep in a recording that conveys limber beauty under the aegis of the historically-informed practice movement. --Kleopatra Sofroniou-von Tavel
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3 reviews
33 of 39 people found the following review helpful
A wonderful version with a female contralto as Orfeo
12 Dec 2001
What makes this set so special is that, although this is (again) a recording of the original 1762 Italian version of Gluck's most celebrated (and recorded) opera, Jacobs has decided to cast a female alto as Orfeo rather that a countertenor, as has become "fashionable" in the recent(ish) recordings of this work. So, how does Ms. Bernada Fink compare to Michael Chance (for Bernius,on Sony), Derek Lee Ragin (for Gardiner), or Rene Jacobs himself (for Kuijken on Accent, my favourite recording until now) all strongest contendants ? Well to me, she first demonstrates how much more immediately appealling, how much richer a female contralto voice can sound compared to a countertenor (sorry guys !). Apart from the appeal of the voice itself, she is a first class Orfeo, very moving indeed, but this should not surprise you if you have already heard her many contribution to the record (her Cornelia in Handel's "Giulio Cesare" and her Cain in Scarlatti's "Il primo omicidio" come particularly recommended). This is now my favourite version.
1 of 1 people found the following review helpful
I love this too
29 Jan 2012
I haven't heard other recordings of this opera, but this one is definitely lovely.
The only thing I want to add is that this recording is available in the "Lumières" box from Harmonia Mundi, which also includes quite a few other fine recordings, such as Jacobs' recording of "Le Nozze di Figaro," Reuss' recording of Handel's "Solomon," Christie's recording of Rameau's "Castor et Pollux," Herreweghe's recording of Beethoven's 9th symphony. Those are the highlights (IMO) but there're some other odds and ends as well.
The only thing I want to add is that this recording is available in the "Lumières" box from Harmonia Mundi, which also includes quite a few other fine recordings, such as Jacobs' recording of "Le Nozze di Figaro," Reuss' recording of Handel's "Solomon," Christie's recording of Rameau's "Castor et Pollux," Herreweghe's recording of Beethoven's 9th symphony. Those are the highlights (IMO) but there're some other odds and ends as well.
5 of 30 people found the following review helpful
beautiful
6 Mar 2004
Bernarda Fink, our contralto Orfeo, is hot stuff - this is gorgeous. I think the other versions I've heard have better technique and acting, but Fink has very luxurious tone
and beautiful... phrasing or something. (Yeah, okay, so I'm a novice.) She's a robust Orfeo - sad but demanding.
and beautiful... phrasing or something. (Yeah, okay, so I'm a novice.) She's a robust Orfeo - sad but demanding.
I'm not so much on board with the period instruments though; they seem unnecessarily jangly.
A libretto with translations is included. I'm not totally sure what edition this is - It's Italian, and mostly seems original, but I think they might have added some of the later ballets and an aria for Euridice - or maybe not.
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