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American Record Guide: (09/2017) 
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Erato 9029585190 




Code-barres / Barcode : 0190295851903



(classicalacarte + ID604)

 

Outil de traduction ~ (Très approximatif)
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Reviewer: Catherine Moore
 

This re-telling of the familiar Orpheus and Euridice story is conceived “as a kind of opera in miniature or as a cantata for two solo voices and chorus” by countertenor Philippe Jaroussky, who sings the role of Orpheus. Excerpts from three separate Orpheus operas by Claudio Monteverdi (first performed in Mantua, 1607), Luigi Rossi (Paris, 1647), and Antonio Sartorio (Venice, 1672) are well selected and made into a very satisfying program. Whereas the three composers emphasized different parts of the story (the happy couple, or the descent to Hell, or the path homeward) this newly-created “opera” is able to encompass them all in a cohesive and engaging whole. The musical styles complement each other, and all the interpretations are very fine.

 

We all know the story’s extreme contrasts of elation and despair, life and death, happiness and damnation, resolve and weakness. Large musical forces supply plenty of theatrical variety for director Diego Fasolis to muster: there are 24 singers in the chorus and 31 players in the I Barocchisti ensemble. As a result, instrumental ritornelli are full and dramatic; tip-toeing instruments underscore the gentle persuasiveness of Euridice’s ghost as she begs Orpheus to use his unfailing gift of song to gain permission to go to Hades and rescue her; and the chorus ranges from vigorously asserting the moral of the story to delicately singing a lullaby-like ode addressing Euridice as “fair eyes” (“begl’ occhi”).
 

Instrumental sections and well chosen percussion effects further support the drama and illustrate the action. I found only one scene transition to be too abrupt: the one between the lovers declaring blissful optimism and the death of Euridice by a snake bite. Yes, there’s a thunderclap denoting her imminent death, but a somewhat longer pause just before that and perhaps a couple of shorter drum beats would amplify the transition’s effectiveness by making it a few seconds longer.

 

Soprano Emoke Barath moves effortlessly from Euridice’s carefree young love at the start of the story, through her dreamlike state in the etherworld beyond death, to her final (and futile) instruction to Orpheus that he not look back. Philippe Jaroussky very eloquently meets the demands of his own transformations from happy bridegroom, to grieving spouse, to persuader of the gods, to desolate wretch.
Notes, texts, translations in a 48-page booklet.


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