GLUCK Orfeo ed Euridice
View record and artist detailsRecord and Artist Details
Composer or Director: Christoph Gluck
Genre:
Opera
Label: Arthaus Musik
Magazine Review Date: 09/2014
Media Format: Digital Versatile Disc
Media Runtime: 75
Mastering:
DDD
Catalogue Number: 102 184

Tracks:
Composition | Artist Credit |
---|---|
Orfeo ed Euridice |
Christoph Gluck, Composer
Bejun Mehta, Orfeo, Countertenor Christoph Gluck, Composer Collegium 1704 Collegium Vocale 1704 Eva Liebau, Euridice, Soprano Regula Mühlemann, Amore, Soprano Václav Luks, Conductor |
Author: Richard Lawrence
The recording comes from the Baroque theatre in the castle at Český Krumlov, formerly Krumau, the seat of the Habsburg Schwarzenberg family. Although it’s billed as a film, the performance is made up of takes done live; from time to time the conductor and orchestra are shown, dressed in 18th-century gear. The candlelit scenery is delightful. The bad news is that instead of presenting the opera straight, Ondřej Havelka has chosen to put it, so to speak, in inverted commas: as the booklet-note has it, Orpheus ‘steps out of his Baroque environment, exposes it for the theatrical world it is and disappears into the unknown’. So we first see him on his bed, buttoning his shirt, donning a scarf and tuning his lyre before being startled by the beginning of the Overture. At the end, instead of rejoicing, he watches glumly from the auditorium before walking slowly down a corridor and disappearing from view in silence.
Within the frame, though, it’s well done. If the writhing of the Furies lacks conviction, the small chorus sings with impressive power and tenderness. Elysium looks appealing, painted statues and urns in a garden of cypresses and orange trees. Cupid descends on a cloud, complete with bow and a quiverful of arrows. With her long hair Regula Mühlemann looks much too feminine, but she portrays the character with great charm. Eva Liebau is excellent as Eurydice, uncomprehending and then furious at Orpheus’s refusal to look at her on their journey back from the underworld. ‘Che fiero momento’ almost has the force of Electra’s final outburst in Idomeneo.
Bejun Mehta mourns Eurydice at the start with tenderness, and there’s a nice sense of wonder at the Elysian Fields. I wonder if Gluck would have cared for his embellishing the clean lines of ‘Che farò’. The period orchestra under Václav Luks is fine. There is much to enjoy here.
Discover the world's largest classical music catalogue with Presto Music.

Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.