1:00 Uvertīra/Overture, 4:04 I cēl./Act 1.: 4:04 ganu koris “Šalc vējš pār laurukokiem”(Ah, se intorno a quest‘ urna funesta) : 4:04 orķ.ievads, 4:44 = 8:58 koris, 5:13, 5:48 Orf.solo, 7:00 Orf.rečitat.(Basta, basta, o compagni), 7:43 deja/Ballo, 10:12 kora t.orķestrī pēdējoreiz = balets-gājiens, 11:05 = 13:19 Orf.ārija ”Kad rīta ausma kvēl” (Chiamo il mio ben così), Echo nav spilgts, 12:10 Orf.reč.starp ārijām, 17:40 Amora ierašanās ( 19:38 Gli squardi trattieni, 22:15 Che disse?), 24:05 1.cēl.noslēg./Atto1 fin, Orf.nokļūst pazemē, 24:30 II cēl./Act 2.: 25:43 II cēl.1.a. Orf.skats ar fūrijām: 25:43 ievads - Orf.lira (arfa), 25:53 fūr.pirmais koris ”Kas pārdrošs ienākt drīkst?” (Chi mai dell‘ Erebo), 26:08 Fūriju deja, 27:05 fūr.pirmā kora atkārt.(ar Kerberu), 29:03 Orf.1.ārija “Redziet, acīs man asaras mirdz”(Deh placatevi con me), ar fūr.kora ”Nē!”saucieniem, 31:25 fūr.otrais koris (Misero giovane, che vuoi, che mediti), 32:20 Orf.2.ārija ”Tūkstoš skumju”(Mille pene, ombre moleste), ["Я не боюся пекла страждання"] 33:50 Orf.3.ārija ”Gaišā skaistā dziesma saista”(Men tirane a voi sareste), 34:35 fūr.pēdējais koris (pilnībā nomierinājušās, līdz 34:57, kā arī tālāk), 35:50 II cēl.2.a. Svētlaimīgo ēnu valstībā (Elizejas laukos, slavenā baleta un "Melodijas" te nav, tas ir 2., Parīzes, redakcijā; 35:50 Che puro ciel, che ciaro sol, 41:50 Vieni a‘regni del riposo, 43:18 Anime avventurose, 43:54 Torna, o bella), 45:08 III cēl.Act 3.: 45:23 rečit.,Orf.: ”Nāc aiz manis”(Vieni, segui i miei passi), 50:45 Eir.un Orf.duets “Nāc aiz manis, mīļā”(Vieni, appaga il tuo consorte) ["Іди услід за мною, дорога"], ( 53:57 Qual vita è questa mai che a vivere incomincio), 56:03 Eiridikes ārija (Che fiero momento), 59:13 Ecco un nuovo tormento, 1:02:55 Orf.pēd.ārija C dur ”Pazaudēju Eiridiki”(Che farò senza Euridice),refrēns, 1:04:53 Orf.pēd.ārijas 2.epizode ”Eiridike! Eiridike!”, 1:06:28 Ah finisca e per sempre colla vita, 1:07:46 Amors: “Orfej, ko dari?(Orfeo, che fai) 1:10:00 III c.noslēg.trriumfs (orķ., 1:10:24 balsis)
1:00 Overture 4:04 Act 1. Ah, se intorno a quest‘ urna funesta 7:00 Basta, basta, o compagni 7:44 Ballo 8:59 Ah, se intorno a quest‘ urna funesta 11:07 Chiamo il mio ben così 19:38 Gli squardi trattieni 22:15 Che disse? 24:30 Act 2 25:54 Chi mai dell‘ Erebo 29:04 Deh placatevi con me 31:27 Misero giovane, che vuoi, che mediti 32:21 Mille pene, ombre moleste 35:52 Che puro ciel, che ciaro sol 41:50 Vieni a‘regni del riposo 43:18 Anime avventurose 43:54 Torna, o bella 45:09 Act 3. Vieni, segui i miei passi 50:45 Vieni, appaga il tuo consorte 53:57 Qual vita è questa mai che a vivere incomincio\ 56:04 Che fiero momento 59:13 Ecco un nuovo tormento 1:02:56 Che farò senza Euridice Ah finisca e per sempre colla vita il dolor! 1:06:28 Ah finisca e per sempre colla vita 1:07:46 Orfeo, che fai? 1:10:24 Trionfi Amore
I have heard this opera since 1973. Never, but never have I seen it so beautifully realized. Every level of detail has clearly been considered and chosen well. The musicianship is superb; the understanding and application of ornamentation is authentic, musical, and thorough; the use of 18th -Century staging speaks much as to why "less is more". I have absolutely wept at the beauty, here. PS: When superior acting further ornaments superior singing and playing, we have "opera," indeed. Superb!
As you are familiar with this opera, can I ask you why it seems the ending in the staging of this opera production appears to be quite different than the one filmed in 1982 by the Glyndebourne Festival Opera (shown on You Tube, with the London Philharmonic). I am not familiar with this opera and I watched both films back-to-back. I it just that one has sub-titles so I understood it better? I only speak English (with a little French), so I couldn't follow along as well with this film (although I thoroughly loved it).
@@6tttchik Thanks for asking. I am trying to define a problem which comes across to me as nebulous. Me. I speak both English and native-level French. Still, this is not a production of Gluck's later version of the opera, in French -- which also has its beauties, by the way. And so: let me encourage you to focus and filter. I can better respond, then.
In fact, the ending in this prodiction is quite weird, different from the classical Gluck's version - which is itself different from the original legend, in which ge loses her definitely after turning back. This original storyline is reapected in Montevidi's "Orfeo", by the way. In Gluck's opera a happy ending was added, to please the tastes of the contemporary public. However, in this production that we are watching and commenting on, Orfeo walks away alone in tears while Euriduce is celebrating her salvation alone. I have searched for interviews by the director or the actors but could find nothing.
@@6tttchik This version seems to be a 'show within a show' or a 'mental world' of sorts; Orpheus's actor sees and participates in the show to drown his sorrows over losing Eurydice, implicitly his fault as we see in the Furies section. He eventually realizes the happy ending Amore offers is all an illusion to keep him from dealing with grief, and it ends with him silently walking away from the theater alone.
Puur! Pure muziek. Prachtige beelden. Ontroering, verdriet, wanhoop, eenvoud! Beeld, geluid en spel brengen de complexiteit en eenvoud van ons bestaan in beeld. Bijzonder. Ook de stilte aan het einde.
Bejun Mehta nous enchante, sa voix est sublime et son jeu d'une émotion intense.La mise en scène est fabuleuse. Quelle beauté ! Merci pour cette version de Vienne, si riche et si bien mise en scène, à l'unisson de la Musique de Gluck.
Er pour une fois un couple croyable. Orfeo est un jeune héros et Euridice une jeune et belle femme. We are accustomed to elderly and obese types shrieking and grumbling like traditional opera stars do. Besides good singers they are all three also good actors.
@@christianwouters6764 Je revois et écoute pour la seconde fois et l'émotion est plus intense encore et le jeu de ces deux sublimes chanteurs envahit l'âme et le coeur
I saw a student production of this opera in Melbourne a long time ago and was totally overwhelmed by the beauty of the music especially the choruses and dances -I subsequently did a bit of research into the music and the original Paris production and found out that the philosopher Jean Jacques Rousseau (himself a composer of operas) was overwhelmed by the beauty of the music in the same way that I was and Rousseau actually declared that the music was so perfect that no more music should ever be written as it would never reach Gluck's standards.
This performance is a boon to civilization. Period! I am proudly LGBT: Yet I have never, in all of my artistic inquiries, seen so beautiful an expression of a thing called, "love". The music is played with not only beautiful authenticity, but also with emotional TRUTH! The staging shows that "less is more": We need no cynical, "modern" renderings, when what is authentic speaks its own truth. I weep at the magical beauty of this realization.
Sin duda alguna, la mejor versión de esta ópera. Bejun Mehta impagable y Collegium 1704 esplendoroso. Y como si todo esto fuese poco, una puesta en escena maravillosa.
Astonishingly nobody has mentioned the extraordinery location where the present representation of the opera was staged. A comprehensive description is available in Wikipedia in German: Schlosstheater cesky krumlov. In fact, the theater is still in the shape of approx. the year when Gluck composed the opera.
I prefer Jaroussky in the role. Light as a feather. (Edit: it’s a gorgeous castle, though and the village is very beautiful. I lived in Prague and visited outlying towns where possible with my cousins & aunts.
04:05 І д. хор пастухів і пастушок "Як сумно вітер мирт гойдає" 13:15 І д. арія Орфея "Де ти, любове моя?" 27:05 ІІ д. 1 к. хор фурій "Чий це зухвалий дух наш потривожив слух?" 29:05 ІІ д. 1 к. аріозо Орфея "Сліз потік ллється з моїх очей" 32:20 ІІ д. 1 к. аріозо Орфея "Я не боюся пекла страждання" 33:50 ІІ д. 1 к. аріозо Орфея "Серце рветься, в пісню ллється" 50:45 ІІІ д. дует Орфея і Евридіки "Іди услід за мною, дорога" 1:02:55 ІІІ д. арія Орфея "Загубив я Евридіку", рефрен 1:05:10 ІІІ д. арія Орфея "Загубив я Евридіку", епізод "Мовчання смерті"
Wish dearly we had subtitles for this to use in my teaching. (Hard to ask students to follow along Italian libretto + translation unless they've had guaranteed training in that language.)
Why don't other "period performances" sound this good? Oh, maybe because these guys and girls are putting some real emotion into it rather than playing with limp wrists! The overture sounds AMAZING.
in German Language ....Bis Heute einer der Größten in der Klassik Musik VIELE haben von Ihm gelernt , auch Heutzutage gehe ich oft an seinem Wohnhaus in Wien vorbei und denke an Ihn
@@ellawolff8048 in Wien 4 Bez, Gluckhaus Wiedner Hauptstraße 32; „Zum silbernen Löwen"; (Gedenktafel), Wohn- und Sterbehaus von Christoph Willibald Gluck,
Bei momenti di regia di teatro, molto immersivo e dall'aria "moderna", ma rimanendo in un'estetica tutt'altro che attuale, quindi contestualizzata, questo il potere del teatro.
The ending; if you’ve lost someone to death, who hasn’t imagined or dreamed their joyful return only to realise in a shattering, bittersweet heartbeat, otherwise.
I have watched other productions of this opera. This is the most realistic version which is skillfully done , the other one done in black and white for Canadian TV is very nice too and may be seen only on CZcams because it is not available on DVD.
I thought i had previously commented on this Superb version of Glucks opera. However here is my opinion. It is absolutely brilliant and understandable and gets viewed almost daily. The settings, which swing between beautifully decorated stage sets and actual castle stonework is an unusual approach, but for me it works. The perfomance of the dancers and chorus is really excellent. The pretty Regula Muhlemann adds a nice, slightly humerous version of Amore and i find Bejan Metha excellent ; unlike some comments. from other pretentious smart arses. This opera version retains , to a degree, its original period setting in contrast to so many modern sets that are so unbelievably minimal that are barely worth watching. An exception would be Porpora's Carlo Il Calvo brought up to date in 20th century Cuba; using beautifully lit colourful stage sets. Now that is one fantastic presentation.
Amazing! Now I can hear how castrato sound like and it is beautiful. It is understanable why this role play mostly woman just like in Mozarts Maridge of Figaro as Cherubino.
A wonderful performance you posted @Logan. Many thanks! I do recognize Bejun Mehta. But it obviously would realy be nice to read in the accompanying tube title who are performing: orchestra, choir, soloists. And in which theatre is it performed?
Beautiful! If only there were more stagings done in such a tasteful manner (instead of the recent surge of ridiculous and pretentious modernist "interpretations").
II Ato: 24:30 Coro de fúrias: Chi mai dell'Erebo - 25:54 Orfeu: ária Deh placatevi con me!: 28:29 Deh placatevi con me! Furie, larve, ombre sdegnose, Vi renda almen pietose Il mio barbaro dolor! Mille pene, Ombre sdegnose, Come voi sopporto anch'io; L'inferno mio ho con me, Lo sento in mezzo al mio cor.
Who understood the meaning of this ending? Why does he leave alone after the gods have given his beloved wife back to him? Offended by her wish to celebrate a bit instead of running away with him immediately? Could not get the director's idea. Thank you for your help!
There was a very funny guy who thought I did not know the legend behind the opera :). Looks like he has cancelled his hilarious comment ;). Obviously my question was not about the original legend and neither about the original opera but about this very stage version. In the original legend Orpheus loses her definitely after turning back, but in Gluck's opera the gods give her back to him. This version however is different from both versions: she is back to him but he walks away in tears. ANd that was the idea that I was trying to interprete. It is funny to have to explain all this ;).
Beautiful and eye-opening performance of this BOHEMIAN ( not German ) composer ..... in one of the last UNTOUCHED period Baroque theatre in Europe. Very interesting outlook on Euridice as a person .... why to get the ( ***** ) out of the hell in the first place ? Well
Andre de Treville I’m not an expert in this area, but I think that I read once that Gluck’s Italian was better than his German as well, though as Italian was in essence the musical lingua franca at the time, that would not really be surprising.
@@andredetreville9391 En fait, vous avez raison, la famille de Gluck était tchèque et il a vécu une partie de son enfance dans les forêts de Bohême, mais il est effectivement né en Allemagne, à Erasbach. Le premier compositeur cosmopolite de l'histoire, qui le démontre bien dans cette œuvre absolument sublime, un des sommets de toute la musique.
In this opera Bejun is alike the contemporary pop stars of the golden opera age being bigger than the composers and playing with the scores to their own liking. I doubt if Von Glück would be enthusiastic...
It's sad that so much of the actual ballet was missed by the camera constantly zooming in on people's faces and torsos. In the 1700s that is not what Gluck or his theater audience would have experienced. I think the camera should be placed in the best seat in the theater which has a view of the entire stage and not moved from that position and especially with the zoom feature disabled. Then, perhaps, the video viewing audience might get the feel of what the 18th century production was actually like. In this case the camera is used as an instrument of exclusion. Thumbs down to this production, it had such wonderful potential. But, the camera has the last word.
Thank you so much!
Fantastic movie!
01:00 Overture p.1
04:05 Coro p.8
07:45 Ballo p.14
09:00 Coro p.15
12:10 Rec. p.20
13:15 Aria p.21
17:40 Rec. p.28
19:35 Aria p.30
24:05 Atto1 fin p.37
24:30 Ballo p.38
27:05 Coro p.43
29:05 Orfeo e Coro p.52
31:25 Coro p.59
33:50 Aria p.67
34:35 Coro p.68
35:50 Arioso p.76
43:45 Coro p.92
43:50 Coro p.93
45:05 Rec. p.97
50:45 Duet. p.104
56:00 Aria p.116
1:02:55 Aria p.128
1:07:35 p.133
1:07:45 Rec. p.133
1:10:00 Coro p.147
You're THAT familiar with the score?
1:00 Uvertīra/Overture,
4:04 I cēl./Act 1.:
4:04 ganu koris “Šalc vējš pār laurukokiem”(Ah, se intorno a quest‘ urna funesta) :
4:04 orķ.ievads, 4:44 = 8:58 koris, 5:13, 5:48 Orf.solo,
7:00 Orf.rečitat.(Basta, basta, o compagni), 7:43 deja/Ballo,
10:12 kora t.orķestrī pēdējoreiz = balets-gājiens,
11:05 = 13:19 Orf.ārija ”Kad rīta ausma kvēl” (Chiamo il mio ben così), Echo nav spilgts,
12:10 Orf.reč.starp ārijām,
17:40 Amora ierašanās ( 19:38 Gli squardi trattieni, 22:15 Che disse?),
24:05 1.cēl.noslēg./Atto1 fin, Orf.nokļūst pazemē,
24:30 II cēl./Act 2.:
25:43 II cēl.1.a. Orf.skats ar fūrijām:
25:43 ievads - Orf.lira (arfa),
25:53 fūr.pirmais koris ”Kas pārdrošs ienākt drīkst?” (Chi mai dell‘ Erebo),
26:08 Fūriju deja, 27:05 fūr.pirmā kora atkārt.(ar Kerberu),
29:03 Orf.1.ārija “Redziet, acīs man asaras mirdz”(Deh placatevi con me),
ar fūr.kora ”Nē!”saucieniem,
31:25 fūr.otrais koris (Misero giovane, che vuoi, che mediti),
32:20 Orf.2.ārija ”Tūkstoš skumju”(Mille pene, ombre moleste),
["Я не боюся пекла страждання"]
33:50 Orf.3.ārija ”Gaišā skaistā dziesma saista”(Men tirane a voi sareste),
34:35 fūr.pēdējais koris (pilnībā nomierinājušās, līdz 34:57, kā arī tālāk),
35:50 II cēl.2.a. Svētlaimīgo ēnu valstībā (Elizejas laukos, slavenā baleta un "Melodijas"
te nav, tas ir 2., Parīzes, redakcijā; 35:50 Che puro ciel, che ciaro sol,
41:50 Vieni a‘regni del riposo, 43:18 Anime avventurose, 43:54 Torna, o bella),
45:08 III cēl.Act 3.:
45:23 rečit.,Orf.: ”Nāc aiz manis”(Vieni, segui i miei passi),
50:45 Eir.un Orf.duets “Nāc aiz manis, mīļā”(Vieni, appaga il tuo consorte)
["Іди услід за мною, дорога"], ( 53:57 Qual vita è questa mai che a vivere incomincio), 56:03 Eiridikes ārija (Che fiero momento), 59:13 Ecco un nuovo tormento,
1:02:55 Orf.pēd.ārija C dur ”Pazaudēju Eiridiki”(Che farò senza Euridice),refrēns,
1:04:53 Orf.pēd.ārijas 2.epizode ”Eiridike! Eiridike!”,
1:06:28 Ah finisca e per sempre colla vita, 1:07:46 Amors: “Orfej, ko dari?(Orfeo, che fai)
1:10:00 III c.noslēg.trriumfs (orķ., 1:10:24 balsis)
1:00 Overture
4:04 Act 1. Ah, se intorno a quest‘ urna funesta
7:00 Basta, basta, o compagni
7:44 Ballo
8:59 Ah, se intorno a quest‘ urna funesta
11:07 Chiamo il mio ben così
19:38 Gli squardi trattieni
22:15 Che disse?
24:30 Act 2
25:54 Chi mai dell‘ Erebo
29:04 Deh placatevi con me
31:27 Misero giovane, che vuoi, che mediti
32:21 Mille pene, ombre moleste
35:52 Che puro ciel, che ciaro sol
41:50 Vieni a‘regni del riposo
43:18 Anime avventurose
43:54 Torna, o bella
45:09 Act 3. Vieni, segui i miei passi
50:45 Vieni, appaga il tuo consorte
53:57 Qual vita è questa mai che a vivere incomincio\
56:04 Che fiero momento
59:13 Ecco un nuovo tormento
1:02:56 Che farò senza Euridice
Ah finisca e per sempre colla vita il dolor!
1:06:28 Ah finisca e per sempre colla vita
1:07:46 Orfeo, che fai?
1:10:24 Trionfi Amore
Thank you!
Stunning in every aspect - restores my faith in modern opera production. This truely does justice to the sublime music.
I have heard this opera since 1973. Never, but never have I seen it so beautifully realized. Every level of detail has clearly been considered and chosen well. The musicianship is superb; the understanding and application of ornamentation is authentic, musical, and thorough; the use of 18th -Century staging speaks much as to why "less is more". I have absolutely wept at the beauty, here. PS: When superior acting further ornaments superior singing and playing, we have "opera," indeed. Superb!
As you are familiar with this opera, can I ask you why it seems the ending in the staging of this opera production appears to be quite different than the one filmed in 1982 by the Glyndebourne Festival Opera (shown on You Tube, with the London Philharmonic). I am not familiar with this opera and I watched both films back-to-back. I it just that one has sub-titles so I understood it better? I only speak English (with a little French), so I couldn't follow along as well with this film (although I thoroughly loved it).
@@6tttchik Thanks for asking. I am trying to define a problem which comes across to me as nebulous. Me. I speak both English and native-level French. Still, this is not a production of Gluck's later version of the opera, in French -- which also has its beauties, by the way. And so: let me encourage you to focus and filter. I can better respond, then.
In fact, the ending in this prodiction is quite weird, different from the classical Gluck's version - which is itself different from the original legend, in which ge loses her definitely after turning back. This original storyline is reapected in Montevidi's "Orfeo", by the way. In Gluck's opera a happy ending was added, to please the tastes of the contemporary public. However, in this production that we are watching and commenting on, Orfeo walks away alone in tears while Euriduce is celebrating her salvation alone. I have searched for interviews by the director or the actors but could find nothing.
Totally agree 💯
@@6tttchik This version seems to be a 'show within a show' or a 'mental world' of sorts; Orpheus's actor sees and participates in the show to drown his sorrows over losing Eurydice, implicitly his fault as we see in the Furies section. He eventually realizes the happy ending Amore offers is all an illusion to keep him from dealing with grief, and it ends with him silently walking away from the theater alone.
A sublime performance of one of my favorite operas! The best version I have seen!
Puur! Pure muziek. Prachtige beelden. Ontroering, verdriet, wanhoop, eenvoud! Beeld, geluid en spel brengen de complexiteit en eenvoud van ons bestaan in beeld. Bijzonder. Ook de stilte aan het einde.
Bejun Mehta nous enchante, sa voix est sublime et son jeu d'une émotion intense.La mise en scène est fabuleuse. Quelle beauté ! Merci pour cette version de Vienne, si riche et si bien mise en scène, à l'unisson de la Musique de Gluck.
Er pour une fois un couple croyable. Orfeo est un jeune héros et Euridice une jeune et belle femme. We are accustomed to elderly and obese types shrieking and grumbling like traditional opera stars do. Besides good singers they are all three also good actors.
@@christianwouters6764 Je revois et écoute pour la seconde fois et l'émotion est plus intense encore et le jeu de ces deux sublimes chanteurs envahit
l'âme et le coeur
What an amazing version of this sublime Opera. Thank yo SO MUCH. I enjoyed every second of it
Questa versione e la più originale la più perfetta che ho visto sublime ❤❤❤❤❤❤❤❤
Bellissimo! Complimenti, esecuzione coinvolgente e direzione magistrale. SUPER!!
Meraviglia delle meraviglie grazie infinite.
Loved this performance - great quality all around.
Meraviglioso connubio fra moderno e classico: i miti sono eterni se trattati con rispetto!
An outstanding, superb production of this wonderful, beautiful Opera. Love conquers all.
This performance is incredible!
Bellissima regia originale dell' orfeo e Euridice di Gluck ❤❤❤❤
The tears!!! YESS!
Excelente interpretación. Saludos desde México. 👂👂👂👂👂👂👂👂👂👂👏👏👏👏👏👏👏👏👏👏👏👏👏👏
I saw a student production of this opera in Melbourne a long time ago and was totally overwhelmed by the beauty of the music especially the choruses and dances -I subsequently did a bit of research into the music and the original Paris production and found out that the philosopher Jean Jacques Rousseau (himself a composer of operas) was overwhelmed by the beauty of the music in the same way that I was and Rousseau actually declared that the music was so perfect that no more music should ever be written as it would never reach Gluck's standards.
This performance is a boon to civilization. Period! I am proudly LGBT: Yet I have never, in all of my artistic inquiries, seen so beautiful an expression of a thing called, "love". The music is played with not only beautiful authenticity, but also with emotional TRUTH! The staging shows that "less is more": We need no cynical, "modern" renderings, when what is authentic speaks its own truth. I weep at the magical beauty of this realization.
Sin duda alguna, la mejor versión de esta ópera. Bejun Mehta impagable y Collegium 1704 esplendoroso. Y como si todo esto fuese poco, una puesta en escena maravillosa.
Astonishingly nobody has mentioned the extraordinery location where the present representation of the opera was staged. A comprehensive description is available in Wikipedia in German: Schlosstheater cesky krumlov. In fact, the theater is still in the shape of approx. the year when Gluck composed the opera.
I prefer Jaroussky in the role. Light as a feather. (Edit: it’s a gorgeous castle, though and the village is very beautiful. I lived in Prague and visited outlying towns where possible with my cousins & aunts.
Браво! Лучшая версия, чтобы полюбить оперу! Органика, актерское мастерство, юмор, прекрасные голоса и исполнение выше всех похвал!
Beautiful piece of music! Have never heard this before! BEAUTIFUL!!
Such a wonderful performance! Thanks so much for sharing it!❤
Wunderbare, auch humorvolle Aufführung! Mit viel Gefühl und Freude angeschaut.
Maravilloso 💗👌
04:05 І д. хор пастухів і пастушок
"Як сумно вітер мирт гойдає"
13:15 І д. арія Орфея "Де ти, любове моя?"
27:05 ІІ д. 1 к. хор фурій "Чий це зухвалий дух наш потривожив слух?"
29:05 ІІ д. 1 к. аріозо Орфея "Сліз потік ллється з моїх очей"
32:20 ІІ д. 1 к. аріозо Орфея "Я не боюся пекла страждання"
33:50 ІІ д. 1 к. аріозо Орфея "Серце рветься, в пісню ллється"
50:45 ІІІ д. дует Орфея і Евридіки "Іди услід за мною, дорога"
1:02:55 ІІІ д. арія Орфея "Загубив я Евридіку", рефрен
1:05:10 ІІІ д. арія Орфея "Загубив я Евридіку", епізод "Мовчання смерті"
Fantastic!!!! Thank you!!!!
Bela montagem, incrível representação e comovente musicalidade. Deslumbrante percepção do mito.
Wish dearly we had subtitles for this to use in my teaching. (Hard to ask students to follow along Italian libretto + translation unless they've had guaranteed training in that language.)
Perfectly realized. Natural and fresh - not precious. Bravi !!!
Che bello, che sogno!
Einfach faszinierend ;)
4:04 хор пастухів і пастушок "Як сумно"
11:07 Арія Орфея "Де ти, любов моя?"
25:54 Хор і танець фурій
29:04 Арія Орфея "Сліз потік"
31:27 Хор фурій "Нещасний юначе, чого ти хочеш, що ти думаєш?"
32:21 Арія Орфея "Мені не страшні"
56:04 Арія Еврідіки "Долі сила"
1:02:56 Арія Орфея "Втратив я Еврідіку
OMG. Absolutely loved this.
Ese "peloncito" me encantó!!!!!
Que bellísima producción!!!!!
Si muy bueno el peloncito contratenor y además muy guapo y apuesto en la escena.
@@Vanchy58 🤭🤭🤭🤭🤭
Absolutamente sin duda
Meraviglioso!
Nádherná interpretace. Děkuji.
Amei!! O lugar foi inspirador para os músicos. Maravilhoso!!
Why don't other "period performances" sound this good? Oh, maybe because these guys and girls are putting some real emotion into it rather than playing with limp wrists! The overture sounds AMAZING.
jo que bonito! supremo! muchas gracias, excelente video! thanks!!
Браво! Прекрасная постановка.
in German Language ....Bis Heute einer der Größten in der Klassik Musik VIELE haben von Ihm gelernt , auch Heutzutage gehe ich oft an seinem Wohnhaus in Wien vorbei und denke an Ihn
wo wohnte er eigentlich?
@@ellawolff8048 in Wien 4 Bez, Gluckhaus Wiedner Hauptstraße 32; „Zum silbernen Löwen"; (Gedenktafel), Wohn- und Sterbehaus von Christoph Willibald Gluck,
@@k.b7905 danke für die Info :-)
@@ellawolff8048 Gerne !
Great performance
Bellissima!!!
Bei momenti di regia di teatro, molto immersivo e dall'aria "moderna", ma rimanendo in un'estetica tutt'altro che attuale, quindi contestualizzata, questo il potere del teatro.
To je sjajno, hvala!
The ending; if you’ve lost someone to death, who hasn’t imagined or dreamed their joyful return only to realise in a shattering, bittersweet heartbeat, otherwise.
Thank you. So beautiful said. I am dreaming of my lost Lila 💕
masterly, what a great countertenor
4:44-хор пастухов и пастушек
11:07-ария Орфея"Где ты, любовь моя"
35:52-поля Элизиума
О, спасибо, а я как раз к слуховой готовлюсь
I have watched other productions of this opera. This is the most realistic version which is skillfully done , the other one done in black and white for Canadian TV is very nice too and may be seen only on CZcams because it is not available on DVD.
Bravissimi!!!
The image is very good for 1762. Well done, guys!
Absolutely wonderful.
Would love the subtitles back though.
Lindo e emocionante! Eu adoro esse mito.
It is said this was one of Marie Antoinette’s favorite piece.
Thank you, would it be possible to have subtitles?
Very great quality stuff!
I thought i had previously commented on this Superb version of Glucks opera. However here is my opinion.
It is absolutely brilliant and understandable and gets viewed almost daily.
The settings, which swing between beautifully decorated stage sets and actual castle stonework is an unusual approach, but for me it works. The perfomance of the dancers and chorus is really excellent.
The pretty Regula Muhlemann adds a nice, slightly humerous version of Amore and i find Bejan Metha excellent ; unlike some comments. from other pretentious smart arses.
This opera version retains , to a degree, its original period setting in contrast to so many modern sets that are so unbelievably minimal that are barely worth watching.
An exception would be Porpora's Carlo Il Calvo brought up to date in 20th century Cuba; using beautifully lit colourful stage sets. Now that is one fantastic presentation.
ON NE PEUT PAS DIRE ? C EST UNE VERSION A écouter ET A ENTENDRE. c'est tout
san valemtin cupido afrodita venus
Amazing! Now I can hear how castrato sound like and it is beautiful. It is understanable why this role play mostly woman just like in Mozarts Maridge of Figaro as Cherubino.
Women were banned by law from performing on stage until starting in the 18th century. Castrati only happened because of that sexism.
4:05 -хор пастухов, 1:02:56 -ария Орфея, 27:05 Орфей с фуриями, 56:04 Ария Эвредики
Здарова, Дрон.
Беджун Мехта, контртенор, США (Орфей)
Ева Лібау, сопрано, Німеччина (Евридіка)
Колегіум 1704, Чеський бароковий хор і оркестр
Диригент Вацлав Лукс, Чехія
Умница !
39:43 So beautiful that part
41:48 | Vieni a' regni del riposo
Masterpiece... **
Encontré un disco antiguo de mi mama de esto me puse a escucharlo esta bueno jaja me gustó
You can tell at the end that Orfeo is already thinking "damn she's just about herself isn't she? I've made a terrible mistake."
A wonderful performance you posted @Logan. Many thanks! I do recognize Bejun Mehta. But it obviously would realy be nice to read in the accompanying tube title who are performing: orchestra, choir, soloists. And in which theatre is it performed?
50:45
❤❤❤ y Regula mirando!
😘😘😘
글룩 - [오르페오와 에우리디체]
글룩 - 고전시대 오페라 [개혁]의 중심
오페라 세리아 개혁
개혁 내용 - 1,서곡을 작품전체흐름과 연계 2,아리아 숫자를 줄임(세리아 지나치게 아리아중심 →극적 전개 부자연) 3, 합창과 중창 강화
Beautiful! If only there were more stagings done in such a tasteful manner (instead of the recent surge of ridiculous and pretentious modernist "interpretations").
II Ato: 24:30
Coro de fúrias: Chi mai dell'Erebo - 25:54
Orfeu: ária Deh placatevi con me!: 28:29
Deh placatevi con me!
Furie, larve, ombre sdegnose,
Vi renda almen pietose
Il mio barbaro dolor!
Mille pene,
Ombre sdegnose,
Come voi sopporto anch'io;
L'inferno mio ho con me,
Lo sento in mezzo al mio cor.
Woah. Darn good counter tenor!
But Who Is He??? I can't find the singers names anywhere.
@@sariahseare3753 Bejun Mehta! :)
extracts at 23:12 35:50
Who understood the meaning of this ending? Why does he leave alone after the gods have given his beloved wife back to him? Offended by her wish to celebrate a bit instead of running away with him immediately? Could not get the director's idea. Thank you for your help!
Howdy Miss Veronica! 🤠
I don't know yet. I'm in the process of studying the history and story of this lovely composition right now. 🙂
There was a very funny guy who thought I did not know the legend behind the opera :). Looks like he has cancelled his hilarious comment ;). Obviously my question was not about the original legend and neither about the original opera but about this very stage version. In the original legend Orpheus loses her definitely after turning back, but in Gluck's opera the gods give her back to him. This version however is different from both versions: she is back to him but he walks away in tears. ANd that was the idea that I was trying to interprete. It is funny to have to explain all this ;).
@@veronicaliga4878 I saw that comment that disappeared.
I can't comment on any of the videos on your channel. The comment section is off.
@@danielsan3681 just in a few videos. No more however, I have fixed the settings. Feel free to comment.
Could someone tell me the names of the conductor and soloists in this wonderful production?
They are all mentioned in the beginning ;-)
soooo ein geiiles produuukkktttt
Omg it's that guy from written on skin
In the min: 50:40 the candle seems to be about to get burn the whole theater, what a scary effect!
What is the deal with this framing device? What is that ending supposed to be, where Orpheus sulks off stage and then walks away?
Beautiful and eye-opening performance of this BOHEMIAN ( not German ) composer ..... in one of the last UNTOUCHED period Baroque theatre in Europe. Very interesting outlook on Euridice as a person .... why to get the ( ***** ) out of the hell in the first place ? Well
Sorry, Christoph Willibald Gluck is no Bohemian but Bavarian composer, born in Berching near my hometown
@@reinholdsedlmeier1033 Hi's father was Czech and Will was fluent in Czech language.
Andre de Treville
I’m not an expert in this area, but I think that I read once that Gluck’s Italian was better than his German as well, though as Italian was in essence the musical lingua franca at the time, that would not really be surprising.
@@andredetreville9391 En fait, vous avez raison, la famille de Gluck était tchèque et il a vécu une partie de son enfance dans les forêts de Bohême, mais il est effectivement né en Allemagne, à Erasbach. Le premier compositeur cosmopolite de l'histoire, qui le démontre bien dans cette œuvre absolument sublime, un des sommets de toute la musique.
Who Are The Singers?? PLEASE Tell Me! I can't find it anywhere!
I found it:
Bejun Mehta, Orfeo
Eva Liebau, Euridice
I still don't know who cupid is though.
@@sariahseare3753 Regula Mühlemann
In this opera Bejun is alike the contemporary pop stars of the golden opera age being bigger than the composers and playing with the scores to their own liking. I doubt if Von Glück would be enthusiastic...
he touched his harp! i'm happy
he no play so no happy anger >:(
@UCfOIScsldg5bEut6yw6dbsg why u anger now i sad :(
@UCfOIScsldg5bEut6yw6dbsg y u say n word u no black >:( racist!
@@saturnblades how u know i not black
@@saturnblades that not me i am scammer
me gustó más el Orfeo de Monteverdi pero esta bastante decente este
💓💓💓💓💓💓💓💓
😍🤩
Fūriju deja (no 26:08)
Orfeja ārija “Pazaudēju Eiridīki” (1:02:56)
It's sad that so much of the actual ballet was missed by the camera constantly zooming in on people's faces and torsos. In the 1700s that is not what Gluck or his theater audience would have experienced. I think the camera should be placed in the best seat in the theater which has a view of the entire stage and not moved from that position and especially with the zoom feature disabled. Then, perhaps, the video viewing audience might get the feel of what the 18th century production was actually like. In this case the camera is used as an instrument of exclusion. Thumbs down to this production, it had such wonderful potential. But, the camera has the last word.
24:31...
Does anyone Know where I could get the 1762 Libretto? I love this version!
Очён ...
1:01:30
4:44
47:32 自分用
Whats countertenor name, who played Orfeo?
4:04 27:05 1:02:50