horizontal line

Amid the many variants of Orfeo ed Euridice there is a reworking by Gluck for Parma in 1774, recorded here for Erato. It has some interesting re-orchestration and transpositions, most noticeably for the great aria ‘Che farò senza Euridice’, both higher and lighter. There are also two new numbers for the performance, including a substitution aria for Euridice, outlining her emotional state, though its vocal flourishes fizzle into recitative. Diego Fasolis conducts with brio balanced with elegance, and the sound is excellent. Philippe Jaroussky is Orfeo, beautiful of tone as ever, but sounding a little dramatically wan. It’s hard to imagine this Orfeo schlepping to Hades and facing the Furies without packing carefully first: he doesn’t suggest much backbone. Emöke Baráth’s Amor sounds rather sexy – a more spirited Orfeo might consider leaving Euridice to stew where she is – but thankfully decorum is maintained and Amanda Forsyth’s pearly soprano makes the journey worthwhile. Both women relish the text.

Francis Muzzu Read the full review on Agora Classica

   Read full review   

To continue reading, please upgrade to a premium account. You will have immediate full access.

Read more classical music reviews online here:

Opera Now, 2018 - ©Rhinegold Publishing