This is a performance of Gluck's 1774 revision of his opera for Paris, with the replacement of the castrato role of Orphée with a high tenor (and upward transpositions), the addition of a bravura, coloratura-filled aria for him at the close of Act 1 (so much for opera "reform"), a second-act aria for Eurydice (here sung by "a happy shade"), a trio in the third act for Amour, Orphée, and Eurydice, an expanded version of the Dance of the Blessed Spirits, and a few other changes to suit the taste of the Parisians.

Years ago (1956?) a recording with Leopold Simoneau as Orphée (under Hans Rosbaud) appeared, and it is available again on Philips. It is gorgeous (although it omits the showy aria). This is the first recording of the Paris version on period instruments, and as such it is valuable in and of itself. My one gripe--and it's serious--is that conductor Marc Minkowski has opted to perform it at A=403, a full tone below current pitch (where Rosbaud's happily is), and this eliminates the need for the tenor to move easily into head voice (or "voix mixte"). Rather, it can be sung at 403 by a regular tenor with a good top. Did Minkowski make the choice for historical reasons? Was he afraid his Orphée, Richard Croft, wouldn't make it to the top notes? If it's the latter, I don't believe it; Croft's voice sits quite high, and the few times he does go into voix mixte, he's a perfect haute-contre.

Croft is a great artist, evident from his opening, palpably sad cries of "Eurydice!" through the dazzling showpiece aria and some stunningly tender singing in the second act. Throughout, he shows a consistent intelligence, musicality, and identification with the role. If heard at Gluck's intended pitch, Croft's vocal "tension", not to mention the added brightness in the orchestra and from the other singers, would have been a real treat, and his low notes, solidly baritonal at Minkowski's pitch, would have been no such thing.

Mireille Delunsch's Eurydice is more womanly than girlish but still sounds innocent; indeed, she is always expressive and makes much of the third act. If I read the booklet correctly, the Amour, Marion Harousseau, is a soprano who was 16 when this was taped. She's lovely, and needless to say, youthfully boyish sounding. Claire Delgado-Boge sings the Happy Shade's music with charm.

It would be impossible not to notice that Minkowski's tempos are erratic and very personally chosen; whether or not they work is another story. The overture is fast and furious--a very welcome way to set the stage (I hate to nag, but it would have sounded even better up a whole tone)--and there's no harshness in the string attack at all, although some listeners might feel that it lacks sharpness. The opening, tragic moments are beautifully phrased, Orphée's solos are filled with commitment, and his interaction with Amour has nice urgency. The virtuoso finale to the act is superbly paced and sung. The Chorus is wonderful throughout, particularly fine as Furies in Act 2, where Minkowski paces them so quickly that they seem as nervous as they do menacing--and their dance is maniacal. But the Blessed Spirits are very pokey and the Elysian Fields seems to be a pretty dull place. The third act is ideal until the final ballet suite, some of which is simply too fast to dance to or is stylistically faulty--for example, the menuet is not in the tempo of a menuet.

And so this is a mixed blessing--extreme in its dramatic thrust, beautifully sung and articulated, but somehow lacking the last word in both grace and excitement. The instrumentalists are superb (great trombones!), and the sound is equally good. The Simoneau recording, albeit not what we now call "authentic", remains first choice. Again--I'd have loved to hear Croft sing Orphée in the right key: I bet he'd be terrific. [7/23/2004]

--Robert Levine