Christoph Willibald Gluck (1714-1787)
Orfeo ed Euridice (1762 Vienna Version)
Orfeo – Bernarda Fink (mezzo-soprano)
Euridice – Verónica Cangemi (soprano)
Amor – Maria Cristina Kiehr (soprano)
RIAS Kammerchor
Freiburger Barockorchester/René Jacobs
rec. January 2001, Teldec-Studio, Berlin
Harmonia Mundi HMC 901742.43 [2 CDs: 91]
My colleague Simon Thompson reviewed this approvingly a decade ago, only justifiably complaining that it was without a libretto; finding the earlier, clamshell cardboard box issue as per the catalogue number above remedies that omission, as it has a quadrilingual booklet. I did not include this in my survey of recommendable recordings of Gluck’s main operas, but reading both ST’s encomium and a similarly enthusiastic review on Classics Today, written on its release, prompted me to acquire it to see what I was missing. This is the original 1762 version with some additional but abridged ballet music in the finale, Obviously, given its conductor and orchestra, it is very “period” in affect and thus very far removed from my previous top choices – thereby providing another reason for me to audition it, as I am by no means against “authentic” performances.
I must say that I am instantly put off by the insanely fast tempo of the overture which may be exciting but robs the music of dignity and any sense of portent. Nor do I like the whine in the strings and brass in the ensuing slow lament but the piercing, poignant beauty of Bernarda Fink’s first cries of “Euridice!” certainly engages my ear. I just wonder: is the operatic lusciousness of her tone with full vibrato entirely stylistically consistent with the spareness of the orchestra accompaniment? For me, this musical equivalent of cognitive dissonance operates throughout but does not seem to bother others. However, I do like the balances the sound engineers achieve here: the smallish choir and orchestra are both ideally in perspective and individual instruments are sometimes atmospherically distanced, such as with the brass interjections and strings echoes in “Chiamo il mio ben così”. Ornamentation is discreet, usually in the form of brief appoggiatura flourishes in the codas of arias. Fink sings beautifully and if she is not as characterful as, say, Janet Baker or Shirley Verrett, perhaps that works in favour of her sounding aptly neutral – as suits a female mezzo singing a masculine role.
It is disappointing how often the two soprano supporting roles are undercast in recordings. That is not the case with older recordings under Fasano (my favourite), Solti and Muti but too many fall down there. Here, neither of Fink’s partners is especially striking; indeed, Maria Cristina Kiehr’s Amor is ordinary – a bit breathy and unsteady, in fact, not a major voice. Nor does the chorus sound very menacing as Furies at the entrance to Hades; surely they could have summoned up a bit more venom to match the drive of Jacobs’ orchestra? They warm up for their stentorian cries of “No!” to Orfeo’s please to be admitted, perhaps stirred by the plangent expressiveness of Fink’s singing there, and they are better in the tender music. Verónica Cangemi, too, is a bit breathy but she sounds sweet and vulnerable and delivers the text vividly. Her duet with Fink goes well but she could sing out a bit more for faster, more agitated passages such as “Che fiero momento!”
The purity of the orchestral playing of the “Elysian Fields” music opening the second CD is moving; especially appealing are the hooty period flutes and reedy oboes and Fink creates a sense of wonder and serenity. I always feel that the music of the third and final act of this opera is a tad less inspired than that which precedes it, but Jacobs’ certainly keeps things moving such that Orfeo’s predicament in being unable to turn around and respond to Euridice’s increasingly desperate appeals comes across as more searingly dramatic than usual and of course “Che faro senza Euridice” is always a highlight. However, contrary to my fellow reviewers, I do not like the keening strings here nor do I think Fink quite finds the pathos in the aria that, for example, Agnes Baltsa does for Muti, but it is still sensitively sung – even if to my ears the appoggiaturas sound more intrusive rather than enhancing Orfeo’s grief.
The final ballet sequence and the “Trionfi Amore!” (May Love triumph) chorus are sprightly and joyous respectively, making for an elegant and uplifting conclusion. While this would never be my first choice for a recording of this seminal opera, it must certainly be a top period option and is valuable for both the beauty of Fink’s singing and the energy of Jacobs’ direction.
Ralph Moore
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