Orfeo and Eurydice and Franco and Malin (for a few more days)

There're only a few more days to catch this concert version of Gluck's Orfeo ed Euridice (the Vienna version, with some extras, like the zippy Act 1 finale) on medici.tv. Laurence Equilbey conducts with Franco Fagioli as Orfeo, Malin Hartelius as Euridice, Emmanuelle de Negri as Amore, the accentus choir, and the insula orchestra. How could you go wrong!?

Vocal Ornamentation in Gluck's Reform Operas – Please Discuss

While looking up the DVD of an Orfeo performance in order to comment on one of my own recent posts, I read a reviewer complaint about the ornaments that countertenor Jochen Kowalski added to "Che faro..." So of course I had to track it down and listen to it (the aria starts at about 3 minutes in): 

I didn't find it too bad. But I understood the reviewer's concern. I had a similar initial reaction while listening to Franco Fagioli in a gorgeous concert performance broadcast not long ago. 

Just as the (in)famous aria (variously known as "Amour, viens rendre," "L'Espoir Renaît Dans Mon Âme," and "Addio, miei sospiri") seems out of place, Mr Fagioli's ornamentation sounded a little anti-Gluck. I found it somewhat jarring. (On rehearing, I find I'm not as bothered by it any more.)

However, I do feel that Che faro really doesn't need any embellishment; it's perfect as is. (Although other singers have added a trill or a few appoggiaturas here and there, which never seemed out of place.) 

So this made me wonder what Gluck, opera "reformists," and other opera lovers would think about these additions.  

• Are these ornaments out of character?
• Are they anti-Reform?
• Are they fine as long as they're tastefully done (a subjective call, at best)?
• Should singers (and conductors) refrain from ornamenting Gluck – ever?
• Should we just relax and enjoy the lovely singing?

Please feel free to discuss. Use other side of paper if necessary.

The Orfeo/Orphee Comparo Edition (Part 1)

Franco Fagioli

So I keep listening to the new Orfeo broadcast, and I keep trying to figure out who Franco Fagioli reminds me of. While I was thinking, I decided to post the Act 3 duet, so we can all hear how well his voice blends with Malin Hartelius. What a lovely combo!

After a few listens, I realized that Fagioli kind of reminds me of Marilyn Horne. Wait, I know that sounds weird, but when he goes into his awesome chest voice...well, here is MH with Pilar Lorengar for comparison:

And just for good measure and because I was listening to all the different recordings I have, here are Richard Croft and Mireille Delunsch singing the French version. Have I mentioned that I think Richard Croft is a musical god?

And finally, Berlioz must have his say, too. So here are Anne Sofie von Otter and Barbara Hendricks:

Concerts Courtesy of France Musique

In case you missed them, francemusique.fr is giving us another chance to hear Werner Güra’s Edinburgh Recital (till Nov. 29) and Christian Gerhaher's all-Schumann program from Salzburg (till Nov. 23).  

I was directed to France Musique, which makes most concert broadcasts available for about 30 days, by Lydia from Toronto, who tweeted me about a very special concert that will be broadcast on November 26, and be available for about 30 days after that: 

Photo courtesy of Eden Jonathan, who was
fortunate enough to attend the concert live.
Thanks Eden!

Gluck's Orphée et Eurydice from l'Opéra Royal de Versailles.

Franco Fagioli,  Orphée

Malin Hartelius, Euridice

Emmanuelle de Negri, Amore

Ensemble vocal Accentus 

Insula Orchestra

Laurence Equilbey, Direction

The France Musique website is a great new (to me) resource for recorded music online! Other program listings can be found for on the Concerts page at francemusique.fr. I just love teh interwebz!!