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A Gluck Retrospective
CHRISTOPH WILLIBALD GLUCK
1.
Aria: 'Il Ciel mi vuol oppresso' from La Semiramide riconosciuta (1748)
4:42
Solo:Anna Stéphany mezzo-soprano
2.
Aria: 'Se povero il ruscello' from Ezio (1750)
8:07
Solo: Ailish Tynan soprano
3.
Aria: 'Se mai senti spirarti sul volto' from La clemenza di Tito (1752)
10:24
4.
Recitative: 'Berenice, che fai?' - from Antigono (1756)
4:28
Solo: Ailish Tynan soprano
5.
Aria: 'Perche, se tanti siete' from Antigono (1756)
3:48
Solo: Ailish Tynan soprano
6.
Recitative: 'Ombre tacite e chete' - from Telemaco (1765)
2:55
Solo: Anna Stéphany mezzo-soprano
7.
Aria: 'Dall' orrido soggiomo' from Telemaco (1765)
2:32
Solo: Anna Stéphany mezzo-soprano
8.
Recitative: 'Elisa? Aminta? E sogno?' - from Il re pastore (1756)
1:11
Solo:Ailish Tynan soprano
9.
Duet: 'Vanne a regnar, ben mio' from Il re pastore (1756)
5:36
Solo: Ailish Tynan soprano
10.
Aria: 'Non jamais un tel epoux' from L'ivrogne corrige (1760)
2:46
11.
Recitative: 'Qual vita e questa mai' from Act Three of Orfeo et Euridice (1762)
1:21
Solo: Ailish Tynan soprano
12.
Aria: 'Che fiero momento' from Act Three of Orfeo et Euridice (1762)
2:42
Solo: Ailish Tynan soprano
13.
Recitative: 'Ecco un nuovo tormento!' from Act Three of Orfeo et Euridice (1762)
3:31
Solo: Anna Stéphany mezzo-soprano
Solo: Ailish Tynan soprano
14.
Aria: 'Che faro senza Euridice?' from Act Three of Orfeo et Euridice (1762)
3:29
Solo: Anna Stéphany mezzo-soprano
15.
Recitative: 'Figli, diletti figli!' - from Alceste (1767)
2:36
16.
Aria: 'Ah, per questo gia stanco' from Alceste (1767)
4:38
17.
Aria: 'O del mio dolce ardor' from Paride ed Elena (1770)
2:53
Solo: Ailish Tynan soprano
18.
Recitative: 'Dieux puissants que j'atteste' - from Iphigenie en Aulide (1774)
2:50
Solo:Anna Stéphany mezzo-soprano
19.
Aria: 'Jupiter, lance la foudre' from Iphigenie en Aulide (1774)
1:49
Solo:Anna Stéphany mezzo-soprano
20.
Aria: 'On s'etonnerait moins que la saison nouvelle' from Armide (1777)
3:36
21.
Introduction to encore
0:25
22.
Trio: 'Ah, lo veggo' from Paride ed Elena (1770)
2:18
Solo:Ailish Tynan soprano
Solo: Anna Stéphany mezzo-soprano
79:44
Orchestra: Classical Opera Company
Conductor:Ian Page
20 January 2010 (live recording)
Notes
A Gluck Retrospective – Alison Tynan, Sophie Bevan, Anna Stéphany, Classical Opera Company, Ian Page ‘A remarkable evening of arias sung with passion, urgency and drama’, writes Gramophone in its September 2010 edition. It finishes by saying that ‘This is a terrific unmissable disc’. Gluck was one of the foremost eighteenth-century opera composers. His innovative music brought new colours to the orchestra – along with a wealth of memorable tunes. This highly varied selection of arias from his operas makes for an ideal introduction to the composer, as well as forming a highly contrasting and often thrilling recital CD, performed by some of the finest artists on the circuit today. A must for all opera fans!
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Reviews
This exemplary disc offers a program that is long overdue and much needed I came away from this album with genuine enthusiasm and excitement The recorded sound of the live concert is excellently balanced in the appropriately intimate performance hall
James A Altena - Fanfare - March/April 2011
***David Cairns
The Sunday Times - 23 January 2011
Critics Choice
Richard Lawrence
Gramophone - December 2010
“Gluck’s journey from the formal opera seria to his mature masterworks … is underappreciated … What emerged most strongly from the Classical Opera Company’s showcase was how organic that development actually was."
"When Anna Stéphany delivered the furies of ‘Il Ciel mi vuol oppresso’ from La Semiramide riconosciuta, here already was a shot of operatic angst in an age of frothy lattes. That Stéphany has a terrific cutting edge to her voice added to the charge of the moment.
"She was in good company, too. Sophie Bevan used her rich and supple soprano with unerring intelligence … Ailish Tynan, a lighter, brighter voice, ploughed sweeter furroughs.”
The Times
“the overwhelming grace and profound simplicity of Gluck’s music was tantamount; one could only recall the composer’s statement that his work was based on ‘the immutable foundations of beauty and truth’, an evaluation that was brought to light repeatedly throughout the course of the evening.”
Opera Britannia
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