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Gluck: Opera Arias
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Most Helpful Customer Reviews on Amazon.com (beta)
1 Antigono - "Quercia annosa sull'erte pendici" 4:07
2 La Semiramide riconosciuta - "Io veggo in lontananza" 7:45
3 Ipermestra - "Non hai cor per un'impresa" 6:40
4 Ezio - "Se povero il ruscello" 9:47
5 La Semiramide riconosciuta - "Bel piacer saria d'un core" 7:34
6 La Contesa de'numi - "Qual ira intempestiva ? Oggi per me non sudi" 4:24
7 La Contesa de'numi - "Oggi per me sudi" 4:24
8 Le Cinesi - "Son lungi e non mi brami " 7:07
9 Iphigénie en Aulide - "Cruelle, non jamais votre insensible coeur ne fut touché de mon amour" 2:47
10 Orfeo ed Euridice (Orphée et Eurydice), Wq. 30 - "J'ai perdu mon Eurydice" 4:22
11La Rencontre imprévue - "Je chérirai, jusqu'au trépas" 5:01
12 Armide - "Plus j'observe ces lieux" 8:10
All works from Giovanni Secchi Edition of the scores. The Greek conductor George Petrou employs a very flamboyant baroque-like approach to Gluck's operatic arias as amply evidenced in the two opening arias from 'Antigono' and "La Semiramide riconosciuta". I have certain reservation to such approach, since Gluck is a classical composer more than a baroque composer.
Behle certainly is well chosen to represent these works, blessed with a Germanic lyrical tenor voice with some 'bite', a quality so sadly missed by the musical public since the untimely early demise of Fritz Wunderlich last century. The voice is half a size bigger than the likes of Christoph Pregardien or Werner Gura. But I would not say this is a voice that would assume a 'junior' heldentenor. The basic colour is not dark enough, though for the present album it is clearly an ideal medium, being reminiscent of Peter Schreier.
Daniel Behle has a stout stock of musicality, no less than Schreier himself. He is also capable of negotiating the coloratura demands of the arias, though it is at once clear that stylistically, he is on odds with Petrou, being much more stout in his vocal approach to the highly fluid style of the conductor. Listening to Petrou's direction, you'd think you are listening to a 'recovered' Handel or even Vivaldi.
I cannot think of any other conductor who may bring the pieces off more accurately stylistically. Perhaps Antonio Pappano. Definitely the 'late' Colin Davis, Charles Mackerras, or may be Nicolaus Harnoncourt.