Orphée et Eurydice (French version), opera in 3 acts, Wq. 41 "Amour, viens rendre à mon âme" Composed by Christoph Willibald Gluck with Jennifer Larmore Born in Atlanta album
@CountertenorJ Read up on Gluck. He actually wished to change current practice and eliminate the self-serving ornamentation of singers; he demanded singers of the day sing what he wrote on the page. Berlioz's cadenza is bad form, in my opinion. Listen to Rockwell Blake singing the original version of this aria. That is how it was meant to be sung.
Sadly, this piece comes from a time when "excessive ornaments" were not only in vogue, but they were trained for, expected of and demanded. Otherwise one would not be considered nearly as much of a "musician" and one who could. Much like in jazz today. If you can't improvise, ya can't jam.
I sing this. She follows the music closely. Additionally, to which cadenzas in the piece are you referring? The triplets in the recapit of the "pour celle qui m'enflamme" are basically all the liberties she takes. The Berlioz cadenza at the end has also now become tradition.
You want crazy interpolations, listen to von Otter or Verrett.
For the size of her voice, Jennifer Larmore has stupendous, clear coloratura. This would be one of my most favorite versions of this aria were it not for the extensive liberties she has taken with interpolated notes and overdone cadenzas within the piece. I realize that the mezzo aria is a reworking of the Gluck by Berlioz, but still, one should endeavor to sing the notes written, especially when dealing with a composer who sought to get rid of the practice of excessive ornamentation by singers.
Abracadabrante, la cadence finale de Berlioz ( même Marilyn Horne ne la faisait pas, à l'inverse d'Ewa Podles qui n'y a pas résisté ).
bpicaud1 3 months ago
@splair peccato che i cantanti continuassero ad abbellire e mettere le loro cadenze... e per fortuna!!!
jovi1715 10 months ago
@CountertenorJ Read up on Gluck. He actually wished to change current practice and eliminate the self-serving ornamentation of singers; he demanded singers of the day sing what he wrote on the page. Berlioz's cadenza is bad form, in my opinion. Listen to Rockwell Blake singing the original version of this aria. That is how it was meant to be sung.
splair 1 year ago
C'est magnifique !!!
77Opera 1 year ago
Sadly, this piece comes from a time when "excessive ornaments" were not only in vogue, but they were trained for, expected of and demanded. Otherwise one would not be considered nearly as much of a "musician" and one who could. Much like in jazz today. If you can't improvise, ya can't jam.
CountertenorJ 1 year ago
I sing this. She follows the music closely. Additionally, to which cadenzas in the piece are you referring? The triplets in the recapit of the "pour celle qui m'enflamme" are basically all the liberties she takes. The Berlioz cadenza at the end has also now become tradition.
You want crazy interpolations, listen to von Otter or Verrett.
martindschreiner 2 years ago
He wrote quite enough notes to begin with, I should think!
splair 2 years ago
For the size of her voice, Jennifer Larmore has stupendous, clear coloratura. This would be one of my most favorite versions of this aria were it not for the extensive liberties she has taken with interpolated notes and overdone cadenzas within the piece. I realize that the mezzo aria is a reworking of the Gluck by Berlioz, but still, one should endeavor to sing the notes written, especially when dealing with a composer who sought to get rid of the practice of excessive ornamentation by singers.
splair 2 years ago
pure insanity...she is so good in this i can't even stand it!!!
Vladarama 2 years ago