Christoph Willibald GLUCK (1714-1787)
300 Years
Orfeo ed Euridice (Vienna, 1762)
Alceste (Paris version, 1776)
Iphigénie en Tauride (Paris, 1779)
rec. 1991-2006
Region Code: 0
see end of review for performance details
ARTHAUS MUSIK 107540 [3 DVDs: 83:00 + 165:00 + 108:00]
2014 is the 300th anniversary of the birth of Christoph Willibald
Gluck, and in recognition of this Arthaus Musik has issued this 3-DVD
collection of live performances of three of his operas. Each of these
performances has previously been issued separately, and each features
distinguished musicians in major houses.
The earliest of the three was Orfeo (Vienna 1762), which Gluck
rewrote for Paris fourteen years later. Described as an azione teatrale
per musica, it was a milestone in the movement towards operatic reform,
whose subject was surely a deliberate choice in its aptness. The librettist
was Raniero de Calzabigi (1714-1795), a poet who was ‘a great lover
of women’, according to none other than Giacomo Casanova. In some
respects, however, Orfeo ed Euridice was a cautious beginning.
The overture is fairly conventional, less ambitious than the later example
for Alceste, while the main role was written for a mezzo-soprano
castrato, though Gaetano Guadagni was an exceptional singer who
had studied acting with David Garrick.
Nowadays the role of Orfeo is often taken by a woman, in which context
Kathleen Ferrier and Janet Baker were famous examples. More often than
not, however, it is a male alto who sings this part, as here with the
excellent Jochen Kowalski. Musically his part is much the most important,
even if he is ably joined by his Euridice and Amor, Gillian Webster and
Jeremy Budd. The Royal Opera Chorus and Orchestra provide sensitive and
well-judged support.
However, in the context of a DVD performance this excellent musical interpretation
has to be tempered by the visual side of the production. This was the
conception of the eminent director Harry Kupfer and it won an Olivier
Award. That said, this reviewer must take the view that the jury must
have made a misjudgement. Orfeo is cast as a pop singer wearing trendy
late 20th century jeans and leather jacket, while on the stage
his harp, if thankfully not the instrument in the pit, is replaced by
guitars, both acoustic and electric. This conceit is either too clever
by half or just plain nonsense. If the musicians perform the notes as
written and in a style sympathetic with that of the 18th century,
why can’t this sensitivity be attempted on stage too?
On DVD the Zürich performance of Iphigénie en Tauride
comes across rather better. The opening scene is quite wonderful musically
and was a major influence on the young Berlioz, for example. No wonder
this is often described as Gluck’s greatest opera.
The staging takes risks but is generally effective. The major characters,
Iphigénie and Orestes, are also represented by large doubles akin
to puppets, who mime the feelings of the two. In the first act, for instance,
the storm in the elements also represents the storm in the mind of Iphigénie
herself. Like all the great opera composers, Gluck was a man of the theatre,
and his priorities were always linked with the enhancement of sensitivity
to the plot and the characters, and to a closer relationship between the
music and the drama. This heroic opera concerning the victory of Enlightenment
over barbarism enjoys fine performances from Juliette Galstian as Iphigenie,
Rodney Gilfry as Oreste, Deon van der Walt as Pylade, and Anton Sharinger
as Thoas.
The live recording from Stuttgart is conducted by Constantinus Carydis
and features the Paris version of Alceste of 1776, rather than
the original Vienna version from nine years previously. The story-line
derives from a play by Euripides, about an heroic wife who offers her
own life to spare that of her husband. There is an important role for
the chorus, for whom there is some magnificent music, and a crucial walk-on
part for Hercules, who arrives to save the day at the end.
The setting is updated to allow contemporary dress, and this seems at
odds with the atmosphere generated by the music. Again there is the question
of whether this serves the opera appropriately for DVD purposes, though
the musical performance is highly creditable.
Overall, therefore, this three-DVD collection is a well-intentioned but
ultimately disappointing anniversary tribute. The performances do not
for the most part match the vision and psychological ambit that this great
opera composer and his various collaborators achieved.
Terry Barfoot
Previous reviews
Iphigénie en Tauride: Göran
Forsling
Alceste:
Robert McKechnie
Performance details
Orfeo ed Euridice (Vienna, 1762) [83:00]
Jochen Kowalski - Orfeo
Gillian Webster - Euridice
Jeremy Budd - Amor
Chorus and Orchestra of the Royal Opera House Covent Garden/Hartmut Haenchen
Harry Kupfer: stage director
Hans Hulscher: video director
rec. 1991, Royal Opera House Covent Garden
Previously released as Arthaus 100417
Alceste (Paris version, 1776) [165:00]
Catherine Naglestad - Alceste
Donald Kaasch - Admète
Johan Rydh - High Priest
Bernhard Schneider - Évandre
Michael Ebbecke - Hercules
Chorus and Orchestra of the Staatsoper Stuttgart/Constantinos Carydis
Jossi Wieler, Sergio Morabito: stage directors
Nele Münchmeyer: video director
rec. 2006, Staatsoper Stuttgart
Previously released as Arthaus 101251
Christoph Willibald GLUCK (1714-1787)
Iphigénie en Tauride (Paris, 1779) [108:00]
Juliette Galstian - Iphigénie
Rodney Gilfry - Oreste
Deon van der Walt - Pylade
Anton Scharinger - Thoas
Chorus and Orchestra ‘La Scintilla’ of the Opernhaus Zürich/William
Christie
Claus Guth: stage director
Thomas Grimm: video director
rec. 2001, Opernhaus Zürich
Previously released as Arthaus 100377
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