Customer Reviews

Gluck - Orfeo ed Euridice / Baker, Speiser, Gale, Leppard, Glyndebourne Opera

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This is the opera adaptation of the Greek myth of Orpheus and Eurydice, as described by Ovid in the Metamorphoses. Preceded by Moteverdi's La Favola di Orfeo and by several other reinterpretations of the same myth, Orfeo ed Euridice by Christoph Willibald Gluck is considered by some as the first opera in the modern sense. It is the oldest opera in the standard repertoire, its first performance dating back to 1762.

The story - although lacking many of the original details - is reasonably accurate. Having lost his wife Eurydice to a snake bite, Orpheus is allowed by the gods to descend into Hades and bring her back. As in many life situations (in this case, "beyond life situations"), there is a condition for the mission to be completed successfully: he should never look directly at his wife until they are back into the world of the living. Unfortunately Orpheus does look at her and this is where the Greek myth and the opera diverge. Orpheus loses his wife forever, in the myth. He is allowed to go on living with her, in the opera. In fact, the final scene, set in the temple of Amore, consists of solos, choruses and dances in praise of love and of the couple whose love was sufficiently strong to defeat all obstacles, including death.

This particular interpretation of our opera - which incidentally only includes three main characters - was filmed in 1982 as part of the Glyndebourne Festival Opera performances. It is sung in Italian - by mezzo soprano Janet Baker (Orfeo), soprano Elisabeth Speiser (Euridice) and soprano Elisabeth Gale (Amore) - with the accompaniment of the London Philharmonic Orchestra and the Glyndebourne Festival Chorus - which also performs the ballet segments. Optional subtitles are available in English, Spanish, French and German.

Both the music and the ballet scenes are captivating. Particularly unforgettable are the descent into Ades - where disgusting creatures, in a predominantly reddish environment, dance disorderly around Orpheus thus hindering his journey - and the depiction of the Elysian Fields - where the turmoil dies down, the predominant color turns to blue, and the Blessed Spirits move in an orderly manner while performing the famous dance.

The celebrated aria "Che Faro' senza Euridice" (What Will I do without Eurydice) , which Orpheus sings, following Eurydice`s second death, is touchingly beautiful.

My only objections - of minor importance - are: the stage is probably too small and not so well suited for the ballet performances. While in the Elysian Fields, Orpheus sings "Che Puro Ciel, Che Chiaro Sol" (What a Clear Sky, What a Bright Sun), but the environment is a deep blue, same as the one where the Blessed Spirits perform their dance. British mezzo-soprano Dame Janet Baker sings like an angel, but is unconvincing as a man (yes, the opera calls for a contralto or mezzo-soprano for the part and this is usually played by a woman). Despite the makeup and clothing, there is no doubt that we are looking at a woman and not a man. But then again, Dame Baker may take this as a compliment rather than a criticism.

Janet Baker has the most luscious voice I have heard. It is here. Moving, touching, the sound of devotion and love. Please, please -- do I sound like an aria -- buy this, you will love it. If you can find her recording of the Brahms Alto Rhapsody get it! I admit there is something to what Mr.Weaver says. But get it nonetheless. So many things get dated in one way or the other don't they? And almost everything has its filler for fun. Blame the French for that. Gluck was making a living as well as a masterpiece. Baker is wonderful. That's what it is about.

It seems to me that the only filmed "Orfeo" anyone ever talks about is the one from Covent Garden with the modern setting, while this one is all but ignored. I don't see why. This is a wonderful performance. Dame Janet Baker's acting is near perfect. The last time I watched this video, I was completely blown away.

This is a jaw-dropping performance of the most influential of all operas, featuring Dame Janet Baker in her signature role. Besides everything else--flawless, relaxed technique, outstanding musicianship and insight--her mastery of cross-dressing-acting is unmatched.

If there's a flaw, it's that there's too much blue in the setting. I started to think I was under water rather than underground.

Whenever I go to a recital of opera I watch some videos that will be presented, so I prepare for the show. In my collection contained two versions of Gluck's Orfeo and Eurydice. A theater of San Carlo Napoli, DVD version without subtitles and another from Glyndebourne Festival Opera, recorded on VHS version and with subtitles in Portuguese. I watched the English version and had a pleasant surprise.

Traditional show, which refers to classical Greece. Parade Greek gods, nymphs, beautiful boys and evil beings. The costumes are classic and conservative scenarios cleared. Interesting is the descent of Orpheus to Ades, demonic figures dance and provoke a disorderly fashion. Highlight of the show, neither seems to be a production of 1982, the modernity of the scene. The long dance numbers were performed in a simple manner.

The image and sound are good, nothing to compare digital recordings and blu-ray today, but considering the period, we have video and audio quality.

Janet Baker was the star of English opera in the '80s. Your Giulio Cesare In Egitto from Handel's magnificent penalty be sung in English. His voice is crystal clear, his Orpheus is dramatic. Angelic voice of small and mezzo-soprano is not always combined with a male character. Compensates for this with great theatrical performance. Elizabeth Speiser is one that plagues Euridice Orpheus until he shows you the face. Beautiful voice, pure lyricism and beautiful tone for a singer of the 80s that I know.

The end is in fellowship, all danced happily alongside the Greek gods. Interesting version of Gluck's opera, libretto well written and inspired by the poet Ovid's Metamorphoses. I hope that the recitation of the San Pedro has that same level.

Portuguese:

Sempre que vou a uma récita assisto alguns vídeos da ópera que será apresentada, assim me preparo para o espetáculo. No meu acervo constam duas versões do Orfeo e Eurídice de Gluck. Uma do teatro San Carlo de Napoli, versão em DVD sem legendas e outra do Glyndebourne Festival Opera , versão gravada em VHS e com legendas em português. Assisti a versão inglesa e tive uma grata surpresa.

Espetáculo tradicional , que remete à Grécia clássica. Desfilam deuses gregos, ninfas, belos rapazes e seres demoníacos. Os figurinos são clássicos e conservadores , os cenários limpos. Interessante é a descida de Orfeu ao Ades, figuras demoníacas dançam e provocam de forma desordenada. Ponto alto do espetáculo, nem parece ser uma produção de 1982, pela modernidade da cena. Os longos números de dança foram executados de forma simples.

A imagem e o som são bons, nada que se compare as gravações digitais e em blu-ray da atualidade, mas considerando-se o período, temos áudio e vídeo de qualidade.

Janet Baker era a estrela da ópera inglesa nos anos 80. Seu Giulio Cesare In Egitto de Handel é magnífico, pena ser cantado em inglês. Sua voz é cristalina, seu Orfeu é dramático. Voz angelical e pequena de mezzo-soprano que nem sempre combina com um personagem masculino. Compensa isso com grande atuação cênica. Elizabeth Speiser é uma Eurídice que atormenta o Orfeu até que ele lhe mostre a face. Bela voz, puro lirismo e belo timbre para uma cantora da década de 80 que eu desconhecia.

O final é de confraternização, todos dançam felizes ao lado dos deuses gregos. Versão interessante da ópera de Gluck, libreto bem escrito e com inspiração nas Metamorfoses do poeta Ovídio. Espero que a récita do São Pedro tenha esse mesmo nível.

Ali Hassan Ayache

Whenever I go to a recital of opera I watch some videos that will be presented, so I prepare for the show. In my collection contained two versions of Gluck's Orfeo and Eurydice. A theater of San Carlo Napoli, DVD version without subtitles and another from Glyndebourne Festival Opera, recorded on VHS version and with subtitles in Portuguese. I watched the English version and had a pleasant surprise.

Traditional show, which refers to classical Greece. Parade Greek gods, nymphs, beautiful boys and evil beings. The costumes are classic and conservative scenarios cleared. Interesting is the descent of Orpheus to Ades, demonic figures dance and provoke a disorderly fashion. Highlight of the show, neither seems to be a production of 1982, the modernity of the scene. The long dance numbers were performed in a simple manner.

The image and sound are good, nothing to compare digital recordings and blu-ray today, but considering the period, we have video and audio quality.

Janet Baker was the star of English opera in the '80s. Your Giulio Cesare In Egitto from Handel's magnificent penalty be sung in English. His voice is crystal clear, his Orpheus is dramatic. Angelic voice of small and mezzo-soprano is not always combined with a male character. Compensates for this with great theatrical performance. Elizabeth Speiser is one that plagues Euridice Orpheus until he shows you the face. Beautiful voice, pure lyricism and beautiful tone for a singer of the 80s that I know.

The end is in fellowship, all danced happily alongside the Greek gods. Interesting version of Gluck's opera, libretto well written and inspired by the poet Ovid's Metamorphoses. I hope that the recitation of the San Pedro has that same level.

Portuguese:

Sempre que vou a uma récita assisto alguns vídeos da ópera que será apresentada, assim me preparo para o espetáculo. No meu acervo constam duas versões do Orfeo e Eurídice de Gluck. Uma do teatro San Carlo de Napoli, versão em DVD sem legendas e outra do Glyndebourne Festival Opera , versão gravada em VHS e com legendas em português. Assisti a versão inglesa e tive uma grata surpresa.

Espetáculo tradicional , que remete à Grécia clássica. Desfilam deuses gregos, ninfas, belos rapazes e seres demoníacos. Os figurinos são clássicos e conservadores , os cenários limpos. Interessante é a descida de Orfeu ao Ades, figuras demoníacas dançam e provocam de forma desordenada. Ponto alto do espetáculo, nem parece ser uma produção de 1982, pela modernidade da cena. Os longos números de dança foram executados de forma simples.

A imagem e o som são bons, nada que se compare as gravações digitais e em blu-ray da atualidade, mas considerando-se o período, temos áudio e vídeo de qualidade.

Janet Baker era a estrela da ópera inglesa nos anos 80. Seu Giulio Cesare In Egitto de Handel é magnífico, pena ser cantado em inglês. Sua voz é cristalina, seu Orfeu é dramático. Voz angelical e pequena de mezzo-soprano que nem sempre combina com um personagem masculino. Compensa isso com grande atuação cênica. Elizabeth Speiser é uma Eurídice que atormenta o Orfeu até que ele lhe mostre a face. Bela voz, puro lirismo e belo timbre para uma cantora da década de 80 que eu desconhecia.

O final é de confraternização, todos dançam felizes ao lado dos deuses gregos. Versão interessante da ópera de Gluck, libreto bem escrito e com inspiração nas Metamorfoses do poeta Ovídio. Espero que a récita do São Pedro tenha esse mesmo nível.

Ali Hassan Ayache

Gluck's Orfeo ed Euridice is a truly wonderful opera, a bit different than the operas that followed Gluck in the Opera Seria and Bel Canto periods. The performance is extremely well done. The emphasis on instrumental as well as voice music is beautifully performed and the ballet parts integrate perfectly in the production.

Yes, this is a beautiful no-nonsense traditional setting and Dame Janet Baker is a world-history-class singing actor working with an outstanding conductor. My only complaint is there's an awful lot of blue--blue light, blue scenery. I started to think I was under water.

I resisted learning this piece until recently because there are no men but one cannot understand Mozart nor Wagner without it. Nor Haydn's CREATION. Nor FIDELIO.

Note to fans of the piece: you can obtain a DVD of a low-budget performance in English with an amazing charismatic up-and-coming coloratura-capable countertenor by contacting the Brooklyn Repertory Opera. I'll bet money this is not the last time you will hear/read the name Nicholas Tamagna, Countertenor. The chorus is great too, especially the basses....;-O))))

The music of this production is good and Janet Baker who sings Orfeo is wonderful. The angel of love is a little corny but sung well. The problem with this production is the last half hour consists of a boring contra dance and it all seems very dated (the production is 25 years old). The first hour and a half is very artistically done with beautiful coloring in the costumes. The production is worth seeing because of Baker.