Gratuitous Friday – Juan Diego Flórez as Orphée

It's been a little while since I’ve spent time with Gluck’s Orphée et Eurydice/Orfeo ed Euridice. I am a major mezzo fan, but I always love to hear a tenor Orphée! Juan Diego Flórez recorded this opera commercially a few years ago, and it's great to hear how his interpretation has matured. (I still love Richard Croft best in this role and Daniel Behle does a nice job with this aria, but JDF is doing just fine, thank you very much!)

In Case You Missed It – Orphée from La Monnaie Replay

I did a "kind of" review of this production when it was streaming from La Monnaie last summer, stating, in part:

While I'm not 100% sure how I feel about this production...Stéphanie d'Oustrac...is an amazing singer/actor. In what, for the singer, is essentially a concert performance, she evokes Orphée 's full range of emotions.  

In case you missed the performance, or want to check it out again, here it is at the Toob. If you haven't seen it, I do recommend setting aside about an hour and a half to view/listen to it.  If you have a little less time, go directly to the scene leading up to Je perdu mon Eurydice.

Moving (if somewhat manipulative) Orphée from La Monnaie

I really want to write a full-on review of this performance. But, as so often is the case, I am not 100% sure how I feel about it. I feel manipulated; but I'm not sure I mind. 

Overlaying a new story over an established plot is not a new idea. That's what great directors (sometimes) do. While Romeo Castellucci is no Stefan Herheim, I believe he has an interesting and effective new way to approach Orphée et Eurydice. Castellucci equates Eurydice's plight to the story of Els, a young Belgian woman suffering from Locked-in Syndrome, or a pseudocoma. She is completely paralyzed, and seems comatose, but is fully aware of here surroundings; and with accommodation, she can communicate. The story of her condition and how her family has responded is quite moving; so moving that it actually threatens to overtake the opera completely at some points. 

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.

La Monnaie's Orphee – Some Background

Photo: Bernd Uhlig

After a prompt from Lydia (definitelytheopera), I decided to look up some additional information (in English) on this new, moving production of Gluck's Orphée et Eurydice. The official videos at the La Monnaie site are apparently quite informative; but only if you understand French and/or Dutch better than I do. Thus my Anglo-centric search for more info. 

So, here is notice that appeared in early June in the KULTURKOMPASSET blog that previews the concept of the production. 

Here is an article about Locked-in Syndrome (LiS) or pseudocoma from The Brain Foundation; and an interview with LiS Survivor Richard Marsh

And here are two reviews in English: from the blog londongrip; and from the New York Times.

This is a co-production with the Weiner Festwochen, and it was seen in Vienna in May, sung in Italian. Over at The Opera Critic, you can find links to reviews (in German) of those performances, plus a few reviews (in French) of the current La Monnaie incarnation.

More About Orphée – Online Soon from La Monnaie

Opera Cake (the blogger) calls La Monnaie's new Orphée et Eurydice "simply devastating," and says we need to see in person. While OC did not reveal why (but promised a fuller review soon), I've a feeling some of it has to do with the projections (see below, and other photos at La Monnaie's site.)

Unfortunately, many of us in the U.S. can't pop over to Brussels within the next few weeks. So we won't be able see it in person. We will have get by with watching it online. And we can do that on-demand for about 20 days, starting this coming Wednesday, July 9.

© Bernd Uhlig

Orphée et Eurydice 

Christoph W. Gluck/Hector Berlioz

Orphée  Stéphanie d'Oustrac

Eurydice Sabine Devieilhe

Music direction Hervé Niquet

Staging, set design, lighting & costumes  Romeo Castellucci

Random Thoughts While Listening to Lirico Spinto on France Musique

I wish I understood French. I don't even understand most of the singers' names in French. Even the French singers. 

Most of the time, I really dislike Maria Callas' voice (Sorry, everyone. I know that's a special kind of operatic heresy.) She made some truly dreadful sounds. (Gluck – see below)

Sometimes, I really like Maria Callas' voice. She made some absolutely lovely sounds (now and then)! (Bellini – see below)

Speaking of Bellini, almost everything he wrote sounds the same to me – even the bits that I already know. 

Almost everything Gluck wrote also sounds the same to me – even the bits from Orfeo/Orphee; although I definitely like Gluck better than Bellini.

Anna Moffo had a pretty spectacular voice (I know, that's not really news.) At least Bellini is really pretty when she sings it.

Véronique Gens also has a spectacular voice, especially when she’s singing in French.

James King sounded pretty darned good back in the early 60s – even singing Gluck in German.

Vesselina Kasarova has at least three voices, and she uses them all to great effect, especially in this Orphee excerpt in the Gluck program. (It's credited to an RCA CD, but I think it's the same performance as on this DVD.)

Richard Croft's voice is still god-like. (Also not news, but...oh my!)

Google Chrome continues to aggravate by automatically translating (or trying to translate) any page that's not in English. OTOH, it does provide a hearty giggle now and then. For example, this aria from I Capuleti e i Montecchi  entitled "O, fifty flip" (O, quante volte).  

The Bellini Program

 The Gluck Program

Gratuitous Friday – The god-like Voice of Richard Croft

The subject of the god-like voice of Richard Croft came up in Twitterville this week, and of course that sent me searching for more of his golden tones. He recorded a complete Orphée with Marc Minkowski. I'm not sure the audio is of this live performance, or if the performance was in conjunction with the recording. Who cares? It's a great listen! Happy Friday!

More Richard Croft

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:

Orphée et Eurydice: The Baroque Stylings of…Robert Wilson? (or Blue Orpheus)

OK, I admit it. On first viewing, I pretty much hated this production. I got the DVD because 1.) I will listen to anything John Eliot Gardiner and the Monteverdi Choir do*; 2.) I really like Magdalena Kožená; and 3.) I absolutely love this opera!

It’s so blue!  And so static!  And Orphée is so strange looking – androgynous. And what’s with the hair, and that robe?  Ironically, the copy on the DVD case says, “…Wilson makes the most of the opera’s balletic possibilities…” But, the word “mesmerizing,” is also used, and I think that is the key to enjoying this performance (that, and patience.)