There have been a number of recordings of the Paris version of Gluck's Orphée et Eurydice, which features a tenor as Orphée rather than the castrato of the more familiar, original Vienna version, but this recording with Juan Diego Flórez is the first since Nicolai Gedda's 1957 effort to feature an operatic superstar. Gluck rewrote the part of the protagonist for a contre-haute, a very high tenor voice type in vogue in France at the time, but relatively rare since then, until the rise of the late 20th century interest in ...
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There have been a number of recordings of the Paris version of Gluck's Orphée et Eurydice, which features a tenor as Orphée rather than the castrato of the more familiar, original Vienna version, but this recording with Juan Diego Flórez is the first since Nicolai Gedda's 1957 effort to feature an operatic superstar. Gluck rewrote the part of the protagonist for a contre-haute, a very high tenor voice type in vogue in France at the time, but relatively rare since then, until the rise of the late 20th century interest in period performance practice. Contre-hautes generally have much lighter voices than Flórez (or Gedda), but Flórez has the technique and artistry to pull the part off with his robust, ample, bel canto instrument. He is, after all, renowned for the punishingly high role of Tonio in La fille du régiment, and Gluck's demands are less outrageous than Donizetti's. The weight of his voice may not be exactly what the composer had in mind, but the tenor's vocal ease and sensitivity to the music...
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Seller's Description:
Christoph Willibald Gluck. Poor. Used-Acceptable, withdrawn library disc(s) with liner notes. Disc(s) should play great without any playback issues. Disc(s) & liner notes may contain typical library markings like stickers, protective label covers, & writing. Discs may be repackaged in library style casing. Back artwork & any other promo material not included.