A complete version of Gluck's 'Orphee et Eurydice' (1774)

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work has much in common with that of "Orfeo". Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The changes, though seemingly insignificant, are actually essential to the work's inner equilibrium. First off, the libretto is given a French translation which does shift some of the accents. Next, and more importantly, the work is greatly expanded, including the addition of a bravura, coloratura-filled aria for Orfeo at the close of Act 1, a more elaborate dance of the blessed spirits and an aria for Eurydice during the Elysium scene; the transformation of the B section of Eurydice's second aria into an intense duettino for the lovers; a penultimate terzet for all three characters and a large ballet for the end of the opera; thus, the work's original omissions are amended with the structure of the piece becoming more logical in the process. Thirdly, the orchestration is changed somewhat: for example, originally each verse of the strophic "Chiamo il mio ben cosi" is accompanied by different solo instruments - flute, horns and English horns - but in 1774 Gluck was required to change this orchestration to that of a single horn and two clarinets. Finally, and even more importantly, the transformation of the originally castrato-voiced Orfeo into the high tenor Orphee, including a more passionate reading than the original. As if that wasn't enough, the present recording, rather controversially, sets the pitch at A=403, a full tone below current pitch, which leads to a further transformation of the work which is especially evident in the baritonal lower notes that the tenor has to approach. All in all, a much different version from the original, and this is where its' interest lies.