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(2004), S. 313-324. Orfeo ed Euridice: some criticism, revisions, and stage realizations during Gluck's lifetime

Exemplarinformationen
Regalstandort	Literaturabteilung	Bandzählg.	Zweigstelle	Status
A 863	Aufsätze/Rezensionen		Bibliotheksmagazin	. Verfügbar .

Kataloginformation
Feldname	Details
Bandangaben	(2004), S. 313-324
Verfasser	Heartz, Daniel ¬[VerfasserIn]¬
T I T E L	Orfeo ed Euridice
Zusatz zum Titel	some criticism, revisions, and stage realizations during Gluck's lifetime
Verfasserangabe	Daniel Heartz
Ausgabe	Kopie
Erscheinungsjahr	2004
Quelle	In: Heartz, Daniel, 1928 - : From Garrick to Gluck
	2004
	(2004), S. 313-324
Klassifikation	EM
Kurzbeschreibung	The earliest critical reactions to Gluck's Orfeo (Vienna, 1762) raised questions about the scenery, the role of Euridice, and the cheerfulness of Orfeo's Che faro. One review praising mainly the libretto can be attributed to its author, Rainieri De' Calzabigi (1714–95). He defended in particular the happy ending, which was attacked by an anonymous French critic. When the score of Orfeo was printed at Paris in 1764 it received little critical attention, except from Friedrich Melchior von Grimm (1723–1807), who denounced it as an example of the fusion of dance and music that he detested in French opera. The London production of 1770 was greatly revised and expanded to include music by other composers, without achieving any greater critical success. Several subsequent productions took their point of departure from the corrupt London version. Visual evidence of costumes and sets survive from early productions at Parma (1769), Munich (1772 and 1774), and Stockholm (1780s). (RILM)