Demofoonte dates from the early 'Milan years' of Christoph Willibald Gluck (1714-1787), long before the radical 'reform operas' for which he is most famous and his break with opera seria and the librettos of Pietro Metastasio. Gluck arrived in the northern Italian city in 1737 and was mentored there by composer Giovanni Battista Sammartini. Though Sammartini primarily composed symphonies and music for the church, Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the Teatro Regio Ducal. His first opera, Artaserse, on a libretto by Metastasio, premiered there on 26 December 1741 and opened the Milanese Carnival of 1742. Gluck went on to compose an opera for each of the next four Carnivals at Milan, Demofoonte being the second of these and his third opera overall, premiering on 6 January 1743. In celebration of Gluck's 300th birthday, the early music scholar and harpsichordist Alan Curtis (1934-2015), founder of Il Complesso Barocco and leader of the period music ensemble for nearly four decades, prepared Demofoonte for performance. All of the arias had been preserved, but nearly all of the secco recitatives were lost. Curtis composed new recitatives in Gluck's style, using Gluck's earliest fully extant opera, Ipermestra, written less than two years after Demofoonte, as a model. This modern revival was given it's first performance on 23 November 2014 in Vienna and was recorded with the same excellent cast of singers the week before, in Northern Italy.
Demofoonte dates from the early 'Milan years' of Christoph Willibald Gluck (1714-1787), long before the radical 'reform operas' for which he is most famous and his break with opera seria and the librettos of Pietro Metastasio. Gluck arrived in the northern Italian city in 1737 and was mentored there by composer Giovanni Battista Sammartini. Though Sammartini primarily composed symphonies and music for the church, Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the Teatro Regio Ducal. His first opera, Artaserse, on a libretto by Metastasio, premiered there on 26 December 1741 and opened the Milanese Carnival of 1742. Gluck went on to compose an opera for each of the next four Carnivals at Milan, Demofoonte being the second of these and his third opera overall, premiering on 6 January 1743. In celebration of Gluck's 300th birthday, the early music scholar and harpsichordist Alan Curtis (1934-2015), founder of Il Complesso Barocco and leader of the period music ensemble for nearly four decades, prepared Demofoonte for performance. All of the arias had been preserved, but nearly all of the secco recitatives were lost. Curtis composed new recitatives in Gluck's style, using Gluck's earliest fully extant opera, Ipermestra, written less than two years after Demofoonte, as a model. This modern revival was given it's first performance on 23 November 2014 in Vienna and was recorded with the same excellent cast of singers the week before, in Northern Italy.
5028421952833

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Format: CD
Label: BRLT
Rel. Date: 12/11/2020
UPC: 5028421952833

Demofoonte
Artist: Alan Curtis
Format: CD
New: Out of Stock
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1. Gluck, Wq.3, Sinfonia: I. Allegro
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2. Gluck, Wq.3, Sinfonia: II. Andante
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3. Gluck, Wq.3, Sinfonia: III. Presto
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4. Gluck, Wq.3, Pt. 1, Scena I: I. Credimi, O Padre … (Dircea · Matusio)
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5. Gluck, Wq.3, Pt. 1, Scena I: II. O Più Tremar Non Voglio (Matusio)
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6. Gluck, Wq.3, Pt. 1, Scena II: I. Se Il Mio Principe Almeno … (Dircea · Timante)
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7. Gluck, Wq.3, Pt. 1, Scena II: II. In Te Spero, O Sposo Amato (Dircea)
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8. Gluck, Wq.3, Pt. 1, Scena III: I. Ma Viene Il Real Genitor … (Timante · Demofoonte · Adrasto)
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9. Gluck, Wq.3, Pt. 1, Scena III: II. Per Lei Fra L'armi (Demofoonte)
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10. Gluck, Wq.3, Pt. 1, Scena IV: I. Ma Che VI Fece, O Stelle …
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11. Gluck, Wq.3, Pt. 1, Scena IV: II. Sperai Vicino Al Lido (Timante)
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12. Gluck, Wq.3, Pt. 1, Scena V: I. Marcia
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13. Gluck, Wq.3, Pt. 1, Scena V: II. Ma Che T'affanna, O Prence? … (Creusa · Cherinto)
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14. Gluck, Wq.3, Pt. 1, Scena V: III. T'intendo, Ingrata (Cherinto
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15. Gluck, Wq.3, Pt. 1, Scena VI: I. Dove? Ferma (Creusa · Cherinto) Dimmi Cherinto. È Questa La Frigia Principessa? [
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16. Gluck, Wq.3, Pt. 1, Scena VII: II. Non Curo L'affetto (Creusa)
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17. Gluck, Wq.3, Pt. 1, Scena VIII: I. Oh Dei! Perché Tanto Furor! …
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18. Gluck, Wq.3, Pt. 1, Scena VIII: II. Il Suo Leggiadro Viso (Cherinto)
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19. Gluck, Wq.3, Pt. 1, Scena IX: I. Olà Ministri … (Adrasto · Matusio · Timante · Dircea)
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20. Gluck, Wq.3, Pt. 1, Scena IX: II. Padre, Perdona… Oh Pene! (Dircea)
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21. Gluck, Wq.3, Pt. 1, Scena X: I. Appresso A Lei … (Timante · Matusio)
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22. Gluck, Wq.3, Pt. 1, Scena X: II. Gemo In Un Punto E Fremo (Timante)
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23. Gluck, Wq.3, Pt. 2, Scena I: I. Creusa Intendo … (Demofoonte · Creusa · Adrastro)
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24. Gluck, Wq.3, Pt. 2, Scena I: II. Tu Sai Chi Son (Creusa)
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25. Gluck, Wq.3, Pt. 2, Scena II: I. Che Alterezza Ha Costei! … (Demofoonte · Timante)
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26. Gluck, Wq.3, Pt. 2, Scena II: II. Prudente Mi Chiedi? (Timante)
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27. Gluck, Wq.3, Pt. 2, Scena III: I. Dunque M'insulta Ognun? …
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28. Gluck, Wq.3, Pt. 2, Scena III: II. Se Tronca Un Ramo (Demofoonte)
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29. Gluck, Wq.3, Pt. 2, Scena IV: I. È L'unica Speranza… … (Matusio · Timante)
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30. Gluck, Wq.3, Pt. 2, Scena IV: II. È Soccorso D'incognita Mano (Matusio)
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31. Gluck, Wq.3, Pt. 2, Scena V: I. Ah Principessa … (Dircea · Creusa)
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32. Gluck, Wq.3, Pt. 2, Scena V: II. Se Tutti I Mali Miei (Dircea)
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33. Gluck, Wq.3, Pt. 2, Scena VI: I. Che Incanto È La Beltà! (Creusa · Cherinto)
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34. Gluck, Wq.3, Pt. 2, Scena VI: II. No, Non Chiedo, Amate Stelle (Cherinto)
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35. Gluck, Wq.3, Pt. 2, Scena VII: I. Se Immaginar Potessi …
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36. Gluck, Wq.3, Pt. 2, Scena VII: II. Felice Età Dell'oro (Creusa)
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37. Gluck, Wq.3, Pt. 2, Scena VIII: I. Santi Numi Del Cielo … (Dircea · Timante), Scena IX. I. Indegno. Non Fuggirmi.
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38. Gluck, Wq.3, Pt. 2, Scena IX.: II. Perfidi! Già Che In Vita (Demofoonte)
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39. Gluck, Wq.3, Pt. 2, Scena X: I. Sposo/Consorte …
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40. Gluck, Wq.3, Pt. 2, Scena X: II. La Destra Ti Chiedo (Dircea · Timante)
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41. Gluck, Wq.3, Pt. 3, Scena I: I. Taci … (Timante · Adrasto)
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42. Gluck, Wq.3, Pt. 3, Scena I: II. Non Odi Consiglio? (Adrasto)
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43. Gluck, Wq.3, Pt. 3, Scena II: I. Perché Bramar La Vita? … (Timante · Cherinto)
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44. Gluck, Wq.3, Pt. 3, Scena II: II. Nel Tuo Dono Io Veggo Assai (Cherinto)
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45. Gluck, Wq.3, Pt. 3, Scena III: I. Oh Figlio, Oh Sposa … (Timante · Matusio)
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46. Gluck, Wq.3, Pt. 3, Scena III: II. Ah Che Né Mal Verace (Matusio)
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47. Gluck, Wq.3, Pt. 3, Scena IV: I. Misero Me! (Timante)
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48. Gluck, Wq.3, Pt. 3, Scena V: I. Timante/'ah, Principessa …
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49. Gluck, Wq.3, Pt. 3, Scena V: II. Misero Pargoletto (Timante)
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50. Gluck, Wq.3, Pt. 3, Scena VI: I. Sieguilo, Adrasto …
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51. Gluck, Wq.3, Pt. 3, Scena VI: II. Odo Il Suono De Queruli Accenti (Demofoonte)
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52. Gluck, Wq.3, Pt. 3, Scena VII: I. E Tu Dircea, Che Fai? … (Creusa)
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53. Gluck, Wq.3, Pt. 3, Scena VII: II. Che Mai Risponderti (Dircea)
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54. Gluck, Wq.3, Pt. 3, Scena VIII: I.Qual Terra È Questa! …
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55. Gluck, Wq.3, Pt. 3, Scena VIII: II. Non Dura Una Sventura (Creusa)
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56. Gluck, Wq.3, Pt. 3, Scena IX: I. Il Re Per Tutto Ti Ricerca (Adrasto · Timante · Matusio · Dircea). Scena X
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57. Gluck, Wq.3, Pt. 3: I. Par Maggiore Ogni Diletto (Coro)
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Demofoonte dates from the early 'Milan years' of Christoph Willibald Gluck (1714-1787), long before the radical 'reform operas' for which he is most famous and his break with opera seria and the librettos of Pietro Metastasio. Gluck arrived in the northern Italian city in 1737 and was mentored there by composer Giovanni Battista Sammartini. Though Sammartini primarily composed symphonies and music for the church, Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the Teatro Regio Ducal. His first opera, Artaserse, on a libretto by Metastasio, premiered there on 26 December 1741 and opened the Milanese Carnival of 1742. Gluck went on to compose an opera for each of the next four Carnivals at Milan, Demofoonte being the second of these and his third opera overall, premiering on 6 January 1743. In celebration of Gluck's 300th birthday, the early music scholar and harpsichordist Alan Curtis (1934-2015), founder of Il Complesso Barocco and leader of the period music ensemble for nearly four decades, prepared Demofoonte for performance. All of the arias had been preserved, but nearly all of the secco recitatives were lost. Curtis composed new recitatives in Gluck's style, using Gluck's earliest fully extant opera, Ipermestra, written less than two years after Demofoonte, as a model. This modern revival was given it's first performance on 23 November 2014 in Vienna and was recorded with the same excellent cast of singers the week before, in Northern Italy.