Christoph Willibald
GLUCK
Alceste
Alceste: Anne Sofie von Otter, mezzo-sop
Admète: Paul Groves, ten
High Priest and Hercules: Dietrich Henschel, bar
Esandre: Yann Beuron, ten
A Herald and Apollo: Ludovic Tezier, bar
Corphée: Hjördis Thebauld, bar
Alceste's Alter Ego: Gladys Massenot, sop
Monteverdi Choir
English Baroque Soloists
Conductor: Sir John Eliot Gardiner
Stage Director: Robert Wilson
Choreographer: Giuseppe Frigeni
 Arthaus Musik DVD 100 160
[135
min].
Crotchet
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Two Operas on
DVD
Orphée et eurydice
Orphée: Magdalena Kozena, mezzo-sop
Eurydice: Madeline Bender, sop
Amour: Patricia Petibon, sop
Monteverdi Choir
Orchestre Revolutionnaire et Romantique
Conductor: Sir John Eliot Gardiner
Stage Director: Robert Wilson
Choreographer: Giuseppe
Frigeni
Arthaus Musik DVD 100 062
[100
min]
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Both of these operas, recorded live in October 1999 at the Théàtre
du Châtelet in Paris, are the result of a unique collaboration of John
Eliot Gardiner and the innovative stage designer Robert Wilson. This Gluck
diptych showcases two of the master's greatest works and highlights his efforts
at "reforming" opera by relating the poetry and music more directly and eschewing
the excesses of the earlier dramatic scheme of Pietro Metastasio.
John Eliot Gardiner brings his own brand of committed musicianship to this
project. Both of these orchestras have a long history with Gardiner and both
perform on period instruments. He chose the French version of these operas
and had control of the casting and other musical elements. His choice of
the Berlioz version of Orphée, from 1859, was deliberate and
he obviously relished the energy and vividness of this scoring. For the
Alceste he uses the English Baroque Soloists, who apparently use 18th
Century replica instruments. The Orchestre Revolutionnaire et Romantique,
which is a "historically informed" orchestra of the 19th Century, is in the
pit for the Orphée. In Alceste, the choir is behind
the orchestra in the pit and, considering their important role in this opera,
contribute much detail and strength to the effort. Played with the familiar
dedication that Gardiner is noted for, the uncommon clarity, accuracy and
energy of these live performances are evident throughout.
Robert Wilson, originally from Texas, has established himself as one of the
most creative stage designers in the world. His sought-after productions,
mostly for European opera houses, are characterized by handsome but extremely
minimized staging. His own unique brand of stylized stage movements by the
singers is based vaguely on the Japanese Nôh theatre tradition and
the performers move about the stage looking something like ancient Egyptian
bas reliefs. The costumes (Frida Parmeggiani) and lighting (Aj Weissbard),
along with the choreography, by Giuseppe Frigeni, come together to make scene
after scene of striking and imposing stage pictures.
The soloists are all of the first rank. In the Alceste, the dominant
title role is performed admirably by the excellent Swedish mezzo-soprano
Anne Sofie von Otter. One of the most versatile singers on stage today, she
is a leading specialist in early opera and sings here with grace and beauty.
The fine young American tenor, Paul Groves is also a specialist in Mozart
and Gluck and is an exceptional Admète. Baritone Dietrich Henschel,
a student of Dietrich Fischer-Dieskau, shows all the intelligence, technical
skill and musicianship of his great master and is powerful in the dual role
of the High Priest and Hercules. Yann Beuron (Evandre) and Ludovic Tezier
(the Herald, Apollo) contribute to the exceptionally high standards of singing
overall.
For the Orphée, Czech soprano Magdalena Kozena will be, for
those unfamiliar with her work, a revelation. She has a voice of exceptional
sheen and beauty with delicious lightness and agility. She achieved international
recognition at the 1999 Aix-en-Provence festival in Monteverdi's,
I'Incoronazione de Poppea conducted by Marc Minkowski. While not
possessing the heft of von Otter's voice, her ability to navigate the coloratura
runs and phrase a vocal line is awesome. The American soprano, Madeline Bender,
as Euridice, is also a splendid discovery, with a smooth, crystal tone. The
French soprano, Patricia Petibon (Amour) is yet another discovery of early
music specialist William Christie and works often with his Les Arts Florissants.
This trio of attractive young vocalists is both a pleasure to hear and to
see.
If you like your Gluck with lots of rubato, expression and with conventional
staging, these recordings might not be to your taste. But if you are ready
to experience the delightful revelation of Gluck as he originally sounded
performed by a master interpreter of the Baroque these should be of interest.
Combined with Robert Wilson's provocative and moving stage pictures, these
two operas are an important addition to the expanding repertory of Baroque
operas on video. This Gluck diptych it is an impressive artistic triumph
for both Gardiner and Wilson.
Both of these DVDs are available in the major music outlets and can be ordered
direct from www.arthaus-video.de. With the technical direction of veteran
Brian Large, both operas have excellent sound and picture quality, are in
16:9 picture format, and have subtitles in English, German and French.
Frank Cadenhead
