Many thanks to Bob for this rarity
The text and the music for the Dramma per musica Paride ed Elena probably originated in Vienna between 1768 and 1770: details of the genesis of the work are not known. Calzabigi may have started the text-book after the premiere of Alceste (December 26th, 1767) and wrote it aloud a letter to Antonio Greppi, already before December 12th, 1768, while Gluck had begun composing at that time, but probably not earlier than in the first months of 1770. The premiere took place on Saturday, November 3rd, 1770 at the Vienna Burgtheater in honor of Peter Leopold, Archduke of Austria and Grand Duke of Tuscany.
Composer: Christoph Willibald Gluck
Performer: Katia Ricciarelli, Franco Bonisolli, Valeria Mariconda
Orchestra: Orchestra of the Settimana Musicale Senese
Conductor: Piero Bellugi
Number of Discs: 2
Label: Private Records
DR-Analysis: DR 11
Size: 1.06 GB
The drama per musica Paride ed Elena, in addition to Orfeo ed Euridice (1762) and Alceste (1767), were among the so-called reformers, which had been created by Gluck and the poet Raniero de ‘Calzabigi. The libretto devoted to the Archduke Peter Leopold is based on two elegies that originate from the Roman poet Ovid (Calzabigi himself regarded it as the real work of Ovid): it is two letters that Paris and Elena exchange with each other (Heroides 16-17) , In Paride ed Elena, the protagonist pair is poetically and musically as opposed: on the one hand, Paris as a pleasure-loving, worldly Phrygier and on the other Elena as a sittestrenge, ground-spartan woman. The supposed amorality of the loved ones (Elena is not married to Menelaus in Calzabigi, but only engaged) is legitimized by the divine influence of Cupid, the action is trivialized and the tragic effect is no longer necessary.
Apart from two exceptions (the Allegro from the Sinfonia to La corona, a Coro e ballo from Le feste d’Apollo), Gluck re-composed the music to Paride ed Elena. In the preface of the first edition of the opera, which was published by Johann Thomas Trattner in Vienna in 1770, and dedicated to João de Bragança, Duke of Lafões, Gluck pointed out that the drama Paride presents “no strong passions” and “no tragic situations in the ‘Alceste’ and cause a great musical effect, so we can not expect the same strength and strength in music. ” The musical implementation is solely bound to the “true expression”. At the premiere the audience praised the singers (especially Giuseppe Millico as Paride), the elaborate production and the numerous ballets – on the other hand, criticized the “unequal and somewhat strange Gusto” of the opera. Paride ed Elena was able to hold a few performances in Vienna until 1772. Only a few other performances in German-speaking countries (Kremsmünster vmtl. 1779, Darmstadt 1780er) and in Italy (Naples 1777 and 1779) are known to Gluck’s lifetime. (See the preface by Rudolf Gerber to Paride ed Elena, GGA I / 4, Kassel, etc., 1954.)
Analyzed Folder: /96k(Mono) Gluck – Paride ed Elena – Ricciarelli, Bonisolli
DR Peak RMS Filename
DR12 -1.03 dB -17.33 dB sideA.flac
DR11 -3.08 dB -17.25 dB sideB.flac
DR12 -1.09 dB -17.48 dB sideC.flac
DR10 -1.50 dB -15.01 dB sideD.flac
Number of Files: 4
Official DR Value: DR11
Live recording Sept. 4th, 1973, Teatro dei Rinnuovati, Siena, Italy
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
Cartridge: Sumiko Black Bird
- Cartridge: ZYX 50R Bloom
- Phono amp: Audio Research SP15 own tube phono section.
- ADC/DAC: RME Fireface UC
- Pre Amp: Audio Research SP15
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
- Software: iZotope RX 5 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.18
- Very careful de-clicking with iZotope, significant clicks manually removed, never de-noising
- Wave 32/192(32/384) —> Flac 24/96(24/192): Twisted Wave 1.18
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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