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Bernarda Fink / Veronica Cangemi / Maria Cristina Kiehr / Rene Jacobs - Gluck: Orfeo & Euridice (2001)

Classic | Author: SELMER | 22-04-2017, 17:11
Bernarda Fink / Veronica Cangemi / Maria Cristina Kiehr / Rene Jacobs - Gluck: Orfeo & Euridice (2001)
Artist: Bernarda Fink / Veronica Cangemi / Maria Cristina Kiehr / Rene Jacobs
Title Of Album: Gluck: Orfeo & Euridice
Year Of Release: 2001
Label: Harmonia Mundi
Country: EU
Genre: Classical
Quality: FLAC (*image + .cue, log, artwork)
Bitrate: Lossless
Time: 90:39 min
Full Size: 425 MB







Tracklist:

Disc: 1
01. Overtura
02. Ah! Se Intorno a Quest'urna Funesta
03. Basta, Basta, O Compagni!
04. Ballo: Larghetto
05. Ah, Se Intorno a Quest'urna Funesta
06. Chiamo Il Mio Ben Cosi
07. O Numi! Barbari Numi
08. Gli Sguardi Trattieni
09. Che Disse! Che Ascoltai!
10. Chi Mai Dell'Erebo
11. Chi Mai Dell'Erebo
12. Deh! Placatevi Con Me
13. Misero Giovane!
14. Mille Pene, Ombre Moleste
15. Ah! Quale Incognito - Men Tiranne Ah, Voi Sareste - Ah! Quale Incognito

Disc: 2
01. Ballo: Andante
02. Che Puro Ciel!
03. Vieni Ai Regni Del Riposo
04. Ballo: Andante
05. Anime Avventurose
06. Torna, O Bella, Al Tuo Consorte
07. Vieni! Segui Miei Passi
08. Vieni, Appaga Il Tuo Consorte!
09. Qual' Vita E Questa Mai
10. Ecco Un Nuovo Tormento!
11. Che Faro Senza Euridice?
12. Ah! Finisca E Per Sempre
13. Ballo Ultima: Maestoso
14. Ballo: Grazioso
15. Ballo: Allegro
16. Ballo: Andante
17. Ballo: Allegro
18. Trionfi Amore, E Il Mondo Intiero


When music began to speak to the heart.
''Music owes Gluck a stroke of genius… that is, in moments of pathos, to have the accompaniment express what the soul is feeling, while the words attempt to hide it'', wrote Madame de Genlis, overcome with emotion. It is true that the most famous of Gluck’s opere serie opened up a vast new field of expression. Late in the Romantic era, it still constituted a storehouse of inexhaustible techniques which was drawn on by Berlioz, Wagner and many others. Those who commissioned the original Orfeo, azione teatrale premiered at the Vienna Burgtheater on 5 October 1762, were shrewd judges of Gluck and Calzabigi’s potential for finding a more radical solution to the operatic question than their predecessors. The interpretation of Ren? Jacobs, which he performed several times in concert with an exceptional cast, has been greeted with enthusiasm for its forceful recreation of the extraordinary emotional power of the original score.



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