Michi Gaigg, L’Orfeo Barockorchester - Georg Philipp Telemann: Orpheus (2011)
Michi Gaigg, L’Orfeo Barockorchester - Georg Philipp Telemann: Orpheus (2011)
EAC | FLAC | Image (Cue & Log) ~ 550 Mb | Total time: 54:45+67:56 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 88697805972 | Recorded: 2010
EAC | FLAC | Image (Cue & Log) ~ 550 Mb | Total time: 54:45+67:56 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 88697805972 | Recorded: 2010
In the Baroque and Classical periods, it seems like anyone who was famous in the world of opera did something with the story of Orpheus. Retrospectively, it is sometimes really hard to see why this appealed to so many. To be sure, the symbolism of the power of music, not to mention the tragic story of love lost, won again through hardship and devotion, and finally and irrevocably lost, seems ready-made for opera. Moreover, any composer would love to set the scenes of Orpheus in Hades. But the plot really seems to need something, like a happy ending, extra characters, or lots and lots of dances to pass the time. Georg Philipp Telemann’s excursion into this story certainly has its share of things. First, the entire plot now revolves not around Eurydice, but rather a new love interest, Orasia, Queen of Thrace, who has the hots for Orpheus, ordering his wife Eurydice done away with in order to further her own suit. Meanwhile, Orpheus, his chum Eurimedes, and the rest of the nymphs and shepherds are celebrating when Eurydice gets bitten by the snake. It is unclear whether this is circumstantial or whether Orasia has just had a bit of luck. In the meantime, during the funeral Eurimedes picks the worst time possible to proposition Cephisa, another nymph. Rejected, he then persuades Orpheus to try and get his wife back from the underworld. Apparently under the influence of some controlled substance, he goes to Hades, but when he can’t get through he wakes up in the wrong place. Pluto sends troops after him, but Orpheus manages to get to the god and sings him into a better mood. He gets Eurydice back, but Pluto’s sidekick, Ascalax, presents Orpheus with the conditions. Not only does he blow these, his failure apparently slams the door to the underworld shut and disrupts their own internal subway system so that none of the dead can get away from each other. Talk about a morbid company. In the final act, Orasia makes her play for Orpheus, but when he rejects her, she then puts out a contract on him with a priestess of Bacchus. Accused of blasphemy (How can one blaspheme Bacchus? Become a teetotaler?), Orpheus is killed and dismembered. Orasia, however, has a pang of remorse, made all the more evident by a vision of both Orpheus and Eurydice making whoopee in Hades (and I’m not kidding; the stage directions say that “one hears a loud groaning from the bushes”), so she decides to end it all. A chorus of her people ends the opera by pleading with her to buck up and live, hardly a persuasive argument for despondency.
This may be a rather long preamble about the text, but it makes it all the more mysterious why a composer of Telemann’s caliber would consent to setting this turkey. To be sure, it may have been meant for Hamburg, where the plots were often ridiculous, but when the text was finally published in 1736, Telemann’s name didn’t even appear, and his friend Johann Mattheson described a concert performance as a “wretched concoction.” Telemann, of course, did it for money, although it was evidently performed first in concert in 1726. Typical of the opera of this period, it is multilingual; mostly singing in German, when in her second aria Orasia screams for vengeance against Eurydice, she suddenly breaks into Italian (I suppose “vendetta” is easier to sing than “Rache”), as does Orpheus when asked to return to Orasia’s court. When Orasia has the vision of the lovers enjoying pleasure in the underworld after her murderous manipulation, she suddenly breaks into French. And so it goes throughout the opera, for no reason whatsoever. The composer must have been hard-pressed to get inspiration for the individual movements, let alone three acts of this stuff. He did it by making most of the arias short and the recitatives shorter still. For instance, Orasia’s rage aria, sung with a tight control and clear tone by soprano Dorothee Mields, is filled with bright entrances on high notes, punched out to contrast to the rapid-fire coloratura. There is even a nice mezzo di voce that she uses to increase the musical tension. When Orpheus and Eurimedes appear, their duet “Angenehmer Aufenthalt” (Pleasant Sojourn) is lilting and pastoral, with the two tenors accompanied by a soft lute. In his second aria, however, tenor Markus Volpert sometimes tends to wobble a bit on the ornamented line as he sings of the superficiality of court life. Eurydice, sung by Ulrike Hofbauer, has a plaintive, light soprano, and when she and Volpert sing together, as in their duet “Ohne dich kann ich nicht leben” (Without You I Cannot Live) the blend is quite ethereal. In the second act, the two sinfonias where Orpheus persuades Pluto to let his wife go, the music with its solo flute has a foreshadowing of Gluck’s Elysian Fields, with Pluto himself, sung with a solid and sonorous bass by Reinhard Mayr, singing his single aria like a Bach cantata. Even at the end, a strange, perhaps even Wagnerian turn when the Bacchantes tear Orpheus apart (to the words “Evohe”), there is a lightness in this work that seems conventional and without much drama, perhaps just what such an absurd plot warrants musically.–Bertil van Boer
Performer:
Orasia – Dorothee Mields
Orpheus – Markus Volpert
Eurydice – Ulrike Hofbauer
Eurimedes – Christian Zenker
Ismene – Barbara Kraus
Pluto – Reinhard Mayr
Cephisa – Marelize Gerber
Ascalax – Julie Comparini
L’Orfeo Barockorchester
Conductor – Michi Gaigg
Tracklist:
Georg Philipp Telemann (1681-1767)
Orpheus, TWV 21:18
CD1:
01. Ouverture (aus: TWV 55:d1)
02. I Akt. Arie Orasia: Wie hart ist mir das Schicksal doch?
03. Rez. Orasia: Ismene, schau
04. Arie Orasia: Lieben, und nicht geliebet seyn
05. Rez. Ismene, Orasia: Bist du nicht Königin
06. Arie Orasia: Sù, mio core, à la vendetta
07. Rez. Orasia, Ismene: Noch heute werden hier die Nymphen
08. Arie à 2 Eurimedes, Orpheus: Angenehmer Aufenthalt
09. Chor Nymphen: Angenehmer Aufenthalt
10. Rez. Orasia, Orpheus: Find ich dich hier
11. Arie Orpheus: Einsamkeit ist mein Vergnügen
12. Rez. Orasia: Erwehnst du denn von Eurydicen nichts
13. Rez. Orpheus, Eurimendes: Wie bist du so betrübt
14. Arie Orpheus: Chi stà in corte
15. Rez. Eurydice: Wie sehr erfreut es mich
16. Arie à 2 Eurydice, Orpheus: Ohne dich kann ich nicht leben
17. Rez. Eurimendes: Wie lebhaft wird es hier
18. Furies (aus: TWV 55:D7)
19. Rez. Cephisa, Eurimedes, Orpheus: Welch Unfall trägt sich zu?
20. Rez. Orpheus, Eurydice: Ihr Himmel, ach!
21. Arie Eurimedes: A' l'incendio
22. Rez. Eurimedes, Cephisa: Du bist's, Cephisa
23. Arie Cephisa: Ich weiß von keiner Liebe nicht
24. Rez. Eurimedes, Cephisa: Ist denn gar nichts für mich zu hoffen?
25. Chor der Nymphen nebst Cephisa: N'aimons que la liberté
26. Rez. Orpheus: Wie ist mir?
27. Rez. Orpheus: Drum komm, du höchst gewünschter Tod!
28. Arie Orpheus: Ach Tod, ach süßer Tod!
29. Rez. Orpheus, Eurimedes: Was kann ich ferner hoffen?
CD2:
01. Entrée (aus: TWV 55:d1)
02. II Akt. Rez. Pluto: Was hör ich
03. Arie Pluto: Zu den Waffen!
04. Chor der Bedienten des Pluto: Zu den Waffen!
05. Sinfonia
06. Rez. Pluto: Was für ein holder Klang
07. Sinfonia
08. Rez. Pluto: Es scheint sich die Musik
09. Rez. Ascalax: Laß dir, Monarch
10. Arie Orpheus: Trà speranza
11. Rez. Orpheus, Pluto: Monarch der Unterwelt
12. Arie Pluto: Ruhet ihr Foltern
13. Rez. Ascalax, Orpheus, Eurydice: Schau, welche Botschaft
14. Arie Eurydice: Mit dir mich zu ergetzen
15. Rez. Ascalax, Orpheus, Eurydice: Folgt diesem Wege nur!
16. Chor der verdammten Geister: Du hast das Schicksal selbst besieget
17. Rez. Ascalax: Geht, verdammte Geister
18. Arie Ascalax: Was hilft's
19. Rez. Orpheus, Eurydice: Gleich werden wir
20. Rez. Orpheus: Ihr Götter ach!
21. Rez. Orpheus, Bediente des Pluto: Verstattet doch…
22. Furies (aus: TWV 55:D7)
23. III Akt. Rez. Orasia: Nun wird mein Orpheus bald
24. Arie Orasia: Furcht und Hoffnung
25. Rez. Orasia, Ismene: Mein Haß, der bloß auf Eurydicen fällt
26. Arie Ismene: Bitter und süß
27. Rez. Orasia, Orpheus: Kömmst du, mein Orpheus
28. Arie Orasia: Vieni, o sdengo
29. Rez. Eurimedes, Orpheus: Wie freu ich mich
30. Arie Eurimedes: Wanket, ihr leichten und flüchtigen Sinne!
31. Rez. Accomp. Orpheus: Hier sitz ich in der Einsamkeit
32. Rez. Orpheus: Ich hab es selbst versehn
33. Arie Orpheus: Fliesst, ihr Zeugen meiner Schmerzen!
34. Arie Priesterin: Esprits de haine et de rage
35. Chor der Weiber: Esprits de haine
36. Rez. Orasia, Priesterin: Geht, sucht den Lästrer auf
37. Rez. Priesterin, Orasia: In welcher Höhle mag er stecken
38. Arioso Chor der Furien: Evohe! Orpheus erliegt
39. Rez. Priesterin: Geht nun! zerreisset ihn
40. Rez. Orasia: So ist nun Orpheus tot!
41. Arie Orasia: Hélas, quels soupirs
42. Rez. Orasia: Ihr Himmel, ach!
43. Schlusschor, Gefolge der Orasia: Ach lebe, Königin
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 2. November 2022, 21:15
Michi Gaigg, L'Orfeo Barockorchester / Telemann: Orpheus CD1
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Defeat audio cache : Yes
Make use of C2 pointers : No
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Fill up missing offset samples with silence : Yes
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Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
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Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
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==== Log checksum 926C6119FC76D6029D456179D2F20AE1E639894D031941131CC48534F1A387E2 ====
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 2. November 2022, 22:25
Michi Gaigg, L'Orfeo Barockorchester / Telemann: Orpheus CD2
Used drive : PIONEER DVD-RW DVR-218L Adapter: 1 ID: 0
Read mode : Secure
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Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
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22 | (69/69) Accurately ripped
23 | (69/69) Accurately ripped
24 | (69/69) Accurately ripped
25 | (69/69) Accurately ripped
26 | (69/69) Accurately ripped
27 | (69/69) Accurately ripped
28 | (69/69) Accurately ripped
29 | (69/69) Accurately ripped
30 | (69/69) Accurately ripped
31 | (69/69) Accurately ripped
32 | (69/69) Accurately ripped
33 | (69/69) Accurately ripped
34 | (69/69) Accurately ripped
35 | (68/69) Accurately ripped
36 | (69/69) Accurately ripped
37 | (69/69) Accurately ripped
38 | (69/69) Accurately ripped
39 | (69/69) Accurately ripped
40 | (69/69) Accurately ripped
41 | (68/69) Accurately ripped
42 | (69/69) Accurately ripped
43 | (66/69) Accurately ripped, or (2/69) differs in 6047 samples @00:57:26-00:57:35
==== Log checksum 9438189F3FF2F4CF6A5C97BB2041DA40083F0527ADF1E6796203CC20B7B3BB0B ====
Michi Gaigg, L’Orfeo Barockorchester - Georg Philipp Telemann: Orpheus (2011)
