Gluck: Orfeo ed Euridice (In French) - Gedda, Pilou, Eda-Pierre; Rosenthal. Roma, 1975

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Gluck's Orpheus is a unique role within the operatic cannon in as much it has been championed by great mezzo-sopranos, counter-tenors, baritones and tenors (I can't think of an instance in which a soprano assumed the title role, but Maria Callas did record one of the finest renditions of "J'ai perdu mon Eurydice" I have ever come across.) This permutation finds a tenor in the lead role. And what a tenor at that! Nicolai Gedda is unflinching in face of the impressive tessitura of this role (the tenor being more or less compelled to sing in the same range as a mezzo.) The result is an Orphée that is more heroic in nature and whose ultimate despair seems all the more heightened. Gedda is well supported by Jeannette Pilou as Eurydice and Christiane Eda-Pierre. The one detriment (depending on your point of view) to this recording may be the overly romantic approach of Manuel Rosenthal, although he does get a very nice sound out of the Rai di Roma Orchestra. The sound is excellent.

OD 10759-2

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Filter Reviews:
JG
04/07/2024
John G.
United States

Great performance

Very strong performances. Typical grace and finesse by Gedda, authentic French idiomatic singing from Pilou and Eda -Pierre. Sound is very good.

JG
04/07/2024
John G.
United States United States

Great performance

Very strong performances. Typical grace and finesse by Gedda; authentic French idiomatic singing from Pilou and Eda -Pierre. Sound is very good.

TH
04/07/2021
Tobias H.
United Kingdom

Of its time but worth to listen

Despite the fact that I consider Gluck’s 1774 French version of his Orfeo ed Euridice less convincing than the initial (1762) Italian one that this 1975 recording shows it’s 'pre-historically-informed' age, it is never-the-less an exciting document. The ultra high tenor tessitura of Orphée seems to hold no obstacles for N. Gedda, who only seems to come to his limits in the florid virtuoso aria ending act one. His voice may be less sensuous than Léopold Simoneau’s (who recorded this version earlier commercially) but has an almost androgynous, ethereal quality, while still making powerful use of the words when necessary. Both sopranos have beautifully contrasting timbres the advantage of being native French singers. I’m not overwhelmed by the conducting, especially in the long, too long ballett-music, but that might also be because the way we hear this music performed today has changed so much, the same applies to the chorus. For a Gedda Gluck fan, as I am, certainly a must!

TH
04/07/2021
Tobias H.
United Kingdom United Kingdom

Of its time but worth to listen

Despite the fact that I consider Gluck’s 1774 French version of his Orfeo ed Euridice less convincing than the initial (1762) Italian one & that this 1975 recording shows it’s 'pre-historically-informed' age, it is never-the-less an exciting document. The ultra high tenor tessitura of Orphée seems to hold no obstacles for N. Gedda, who only seems to come to his limits in the florid virtuoso aria ending act one. His voice may be less sensuous than Léopold Simoneau’s (who recorded this version earlier commercially) but has an almost androgynous, ethereal quality, while still making powerful use of the words when necessary. Both sopranos have beautifully contrasting timbres & the advantage of being native French singers. I’m not overwhelmed by the conducting, especially in the long, too long ballett-music, but that might also be because the way we hear this music performed today has changed so much; the same applies to the chorus. For a Gedda & Gluck fan, as I am, certainly a must!