The sleeve shows only light shelfwear and the vinyl is Excellent with light signs of play DPS more Each LP volume is in its own fully laminated scalloped flipback picture sleeve. A collection of Operatic recordings made between andfeatureing performances from Beniamino Gigli and Jussi Bjorling. Picture sleeve with extensive liner notes on the inner sleeve.
REH more Presented in a thick card rigid picture sleeve with insert. Get stock updates for Contact Us. Sell us your Rare Various-Opera items today Contact our team of experienced buyers who will be pleased Album) quote for any top quality items. Simply download our easy to complete form here.
We buy all over UK including Norden. Collectors Stores. Amore, Orfeo. Act I Scene 2: Recitativo: Che disse? Che ascoltai? Act II Scene 1: Ballo 1. Act II Scene 1: Ballo 2. Act II Scene 1: Ballo 3. Act II Scene 2: Ballo 1. Act II Scene 2: Ballo 2.
Orfeo, Euridice. Amore, Orfeo, Euridice. The first lines of arias, choruses, etc. Dans ce bois". This technique was extremely radical at the time and indeed proved overly so for those who came after Gluck: Mozart chose to retain the unity of the aria.
Amore Cupid appears, telling Orfeo that he may go to the Underworld Orfeo Ed Euridice - Glyndebourne Festival* - 50th Anniversary Album (Vinyl return with his wife on the condition that he not look at her until they are back on earth only: aria by Amour, "Si les doux accords".
Orfeo resolves to take on the quest. In the version, the scene ends with the "Dance of the Furies" No. The second scene opens in Elysium. The brief ballet of became the four-movement "Dance of the Blessed Spirits" with a prominent part for solo flute in This is followed only by a solo which celebrates happiness in eternal bliss "Cet asile"sung by either an unnamed Spirit or Euridice, and repeated by the chorus.
But he finds no solace in the beauty of the surroundings, for Euridice is not yet with him. On the way out of HadesEuridice is delighted to be returning to earth, Album), but Orfeo, remembering the condition related by Amore in act 1, lets go of her hand and refusing to look at her, does not explain anything to her. Euridice takes this to be a sign that he no longer loves her, and refuses to continue, concluding that death would be preferable.
Unable to take any more, Orfeo turns and looks at Euridice; again, she dies. Album) reward for Orfeo's continued love, Amore returns Euridice to life, and she and Orfeo are reunited.
After a four-movement ballet, all sing in praise of Amore "Trionfi Amore". The opera was first performed in Vienna at the Burgtheater on 5 Octoberfor the name day celebrations of the Emperor Francis I. The production was supervised by the reformist theatre administrator, Count Giacomo Durazzo. Choreography was by Gasparo Angioliniand set designs were by Giovanni Maria Quaglio the Elderboth leading members of their fields.
The first Orfeo was the famous castrato Gaetano Guadagni. Orfeo was revived in Vienna during the following year, but then not performed until For the performances that took place in London inGuadagni sang the role of Orpheus, but little of the music bore any relation to Gluck's original, with J.
Bach — "the English Bach" — providing most of the new music. During the early 19th century, Adolphe Nourrit became particularly Orfeo Ed Euridice - Glyndebourne Festival* - 50th Anniversary Album (Vinyl known for his performances of Orpheus at the Paris Opera. In Franz Liszt conducted the work at Weimarcomposing a symphonic poem of his own to replace Gluck's original overture.
In the Lyric Opera of Chicago presented a new production by choreographer John Neumeier which fuses the musical and ballet elements of the opera and features the Joffrey Ballet. The production uses the "Paris version" albeit with a rearranged finalewith the part of Orfeo being sung by a tenor. In for Le feste d'Apollo at Parma which was conducted by the composer, Gluck transposed part of the role of Orfeo up for the soprano castrato Giuseppe Millicomaintaining a libretto in Italian.
Gluck revised the score again for a production by the Paris Opera premiering on 2 August at the second Salle du Palais-Royal. Gluck composed additional music and made other adjustments such as shifting Orpheus down to a high tenoror haute-contrefrom castratoto suit the convention in French opera for heroic characters the French almost never used castratos. The opera now had more ballet sequences, conforming to Paris taste, including the long "Dance of the Furies" originally written for Gluck's ballet Don Juan and the "Dance of the Blessed Spirits" for flute and strings.
By operatic castrati themselves had virtually vanished, and performances of the original version for castrato became increasingly rare. The modern practice of approximating castrati by using countertenors as replacements dates back only to From to the Parisian diapason concert pitch rose steadily from to cycles per second,  thus Gluck's French version for haute-contre became increasingly impractical.
He returned to the Italian version only when he considered it to be superior either in terms of music or in terms of the drama.
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