The Milan broadcast
of Furtwängler’s Orfeo preserves a performance rather
different from that which one might have expected; certainly
the conductor’s detractors would find in it little, in the light
of performance practice of the time, with which seriously to
take issue. The string sound is not too heavy – is in fact lacking
the marmoreal quality entirely – and whilst the opening Overture
is rather more Maestoso than the marked Allegro it nevertheless
evinces a sure theatrical impulse. Indeed he encourages some
really rather searing violin playing and for all the acoustic
muffle of the string choirs (indistinct and often sounding undifferentiated)
the strongly vibrated fiddles of the orchestra of La Scala bring
commendable vibrancy and life to their part.
Something with which
that detractor could take offence is the chorus, who were having
a decidedly off day (their Act II interjections are pretty horrible),
and the variable solo singing. Barbieri’s Ite voi tutti almost
comes to a standstill – very much, it’s true the conductor’s
responsibility – and some of his tempi can tend to the lugubriously
noble. As for Barbieri her voice is more properly a Verdian
one and the chest register in particular sounds intensely over
vibrated – though perhaps one should spare too much criticism
over voice types in this particular instance, except to note
that her verismo outpourings in Che disse! add an interesting
theatrical gloss to Italian Gluck performances of this period.
Gabory, the Amore, has a starchy sounding voice and it’s none
too steady either. As Euridice we find Hilde Gueden in youthful
and fresh voice, though what we lack is a lived-in sense of
theatrical understanding. Rather too often her phrasing is generic
and not expressive – it’s just a touch of a blank, just on the
prosaic side for all the gleaming beauty of tone. Furtwängler
plays the Dance of the Blessed Spirits with grave deliberation,
though less sympathetic ears will find it ponderous (as do I).
He plays the 1774 edition, in Italian; there are numerous cuts
and modifications of recitatives and arias as well as wholesale
cutting of the ballet numbers.
As for the sound
it’s no better or worse than one would expect of a 1951 off-air
recording. I can hear no “24Bit/96Khz” remastering as claimed
– just a fair representation of the original signal. There are
no notes or texts at all and just broad tracking details. Imperfect
as this undoubtedly is it’s most valuable for the conductor’s
contribution – measured, certainly, stressing the philosophic
nobilities of the score, unhurried and weighty without courting
ponderousness.
Jonathan Woolf