By
the end of the 1760s, Gluck had behind him both an impressive
series of opéra-comiques in French. These included
such as L’Ivrogne Corrigé (1760) and Le Cadi Dupé (1761)
as well as some of the great and enduring masterpieces on
which his modern reputation largely depends.
Orfeo
ed Euridice was produced in Vienna in 1762 and Alceste in
the same city in 1767. In his work with the librettist
Ranieri Calzabigi
- described by no less than Casanova as “well aware of
the main chance, well versed in financial dealings, familiar
with the trade of all nations, learned in history … poet
and great lover of women” – from 1761 onwards he had introduced
operatic reforms which were to some extent influenced by
French models. Gluck was a big name, a much discussed innovator
and well aware of the music of France. He was a natural
choice for the Francophile court of Parma to turn to when
commissioning new work.
The
composer Tommaso Traetta took up an appointment at the court
in Parma in 1758. Working with the poet Carlo Innocenzio
Frugoni, Traetta produced work much influenced by French
operatic models, not least that of Rameau. Traetta’s aspirations
had much in common with those of Gluck. Alfred Einstein’s
1936 book on Gluck quotes a letter, from July 1758, from
Count Paradisi to Count Algarotti: “I went to the opera at
Parma, where I found many things entirely to my satisfaction … the
way seemed to me open for a renewal of the miracles of that
art which the Greeks so much prized”. That unattainable dream
of the revival of the music-drama of the ancient Greeks was
one that held particular sway at the Francophile court of
Parma when, in 1769, works were commissioned as part of the
celebration of the marriage of Ferdinand, Duke of Parma,
grandson of Louis XV to Maria Amalia, Archduchess of Austria,
sister of Marie Antoinette. Gluck was commissioned to write Le
Feste d’Apollo for performance as part of the elaborate
celebrations of the marriage.
Le
Feste d’Apollo was made up
of a prologue and three independent acts. Its conception
owes much to an earlier (1760) work by Traetta and Frugoni,
written for another courtly marriage at Parma. Act I, L’Atto
d’Aristeo, was composed to a libretto by the poet-priest
Giuseppe Pezzana (1735-1802); Act II, L’Atto di Bauci
e Filemone made use of a libretto by Giuseppe Maria
Pagnini (1737-1814), a monk with a considerable reputation
as a scholar of ancient Greek literature. Act III was a
one act version of Orfeo.
These
are the first recordings of the first two Acts. In them Gluck
recycles quite a lot of material from such earlier works
as La Cythère assiégée, Telemaco, Semiramis, L’innocenza
giustificata and Ezio. The results are attractive
if not of major significance and they are given very assured
and intelligent performances here. Rousset elicits orchestral
playing of considerable vivacity and the soloists acquit
themselves with considerable credit. The Danish soprano Ditte
Anderson is particularly impressive, as Cirene, water nymph
and mother of Aristeo in the first Act and as Bauci, young
lover of Filemone in the second Act. The elderly Baucus
and Philemon of Ovid’s Metamorphoses have been rejuvenated
by Pagnini. Both works (‘Acts’) contain some attractive arias; Bauci
e Filemone is perhaps the more satisfying of the two.
It
is good to have the chance to hear this music, especially
in such affectionate and stylish performances. Yet it leaves
one wishing that one could hear these two ‘acts’ in their
full musical-dramatic context: with the prologue and with
the one-act Orfeo. That would enable one to trace
the musical and poetic cross-references which seem, on this
limited evidence, to knit together Le Feste d’Apollo.
These
recordings come from live concert performances held in support
of a charity devoted to rare diseases. The recorded sound
is wholly satisfactory, in terms both of clarity and balance.
Full texts and translations are provided.
So,
a pleasant recording which should be valuable to all with
an interest either in Gluck in particular or the evolution
of eighteenth century opera in general. There’s quite a lot
of Gluck of which we don’t have recordings. This two CD set
stirs up the desire to hear more.
Glyn Pursglove
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Ditte Anderson
(soprano); Ann Hallenberg (mezzo); Marie Lenormand (mezzo); Magnus
Staveland (tenor); Chœur de chambre de Namur; Les Talens Lyriques/Christophe
Rousset 
