ALCESTE
Christoph Willibald Gluck (1714 - 1987)
.jpg)
Opera in three acts in French
Libretto: Ranieri da Calzabigi
Premièr at the Burgtheater, Vienna - 26 December 1767
Premièr at the Burgtheater, Vienna - 26 December 1767
27†, 30† April - 05, 08, 11 May 1972
Teatro alla Scala, Milano
Conductor: Gianandrea Gavazzeni
Chorus master: Ramono Gandolfi
Stage director: Giorgio de Lullo
Scene and costumes: Pier Luigi Pizzi
Alceste LEYLA GENCER soprano
Admeto GIORGIO LAMBERTI tenor
Grand Sacerdote ATTILIO D’ORAZI tenor
Apollo DOMENICO TRIMARCHI bass
EFIMIOS MICHALOPOULOS bass (11 May)
Evandro GIAMPAOLO CORRADI tenor
Ismene JOSELLA LIGI soprano
Banditore GIOVANNI ANTONINI bass
L’Oracolo UBALDO CAROSI bass-baritone
Corifee MILENA PAOLI mezzo-soprano
Corifee JEDA VALTRIANI soprano
Corifee SAVERIO PORZANO tenor
Corifee CARLO FORTI baritone
Leaders of the People soprano, mezzo-soprano, baritone
† Recording date
Chorus master: Ramono Gandolfi
Stage director: Giorgio de Lullo
Scene and costumes: Pier Luigi Pizzi
Alceste LEYLA GENCER soprano
Admeto GIORGIO LAMBERTI tenor
Grand Sacerdote ATTILIO D’ORAZI tenor
Apollo DOMENICO TRIMARCHI bass
EFIMIOS MICHALOPOULOS bass (11 May)
Evandro GIAMPAOLO CORRADI tenor
Ismene JOSELLA LIGI soprano
Banditore GIOVANNI ANTONINI bass
L’Oracolo UBALDO CAROSI bass-baritone
Corifee MILENA PAOLI mezzo-soprano
Corifee JEDA VALTRIANI soprano
Corifee SAVERIO PORZANO tenor
Corifee CARLO FORTI baritone
Leaders of the People soprano, mezzo-soprano, baritone
Time: Ancient
Place: Pherae † Recording date
Note: The production (30.04.1972) recorded
for video by La Scala for its own archive.
Photos © ERIO PICCAGLIANI, Milano
GENCER ALLA SCALA
ALCESTE
STAGIONE
1971 – 1972
CONTRACT FOR THE PERFORMANCES
1971

OPERA MAGAZINE
1972 January
CORRIERE DELLA SERA
1967.03.11
OPERA MAGAZINE
1972 April
CORRIERE DELLA SERA
1972.04.27
CORRIERE DELLA SERA
1972.04.02
CORRIERE DELLA SERA
1972.04.28
L'UNITA
1972.04.28
IL GIORNO
1972.05.09
“The Voice that
makes the choir cry”
People had told me
go and see “Alceste” at La Scala and sit on the first row to witness how Gencer
makes the choir cry. I’m acquainted with both Gencer and the La Scala Choir
since long time and I know how professional they both are. “You can’t be right
I said. Yes, Alceste is a remarkable opera but it sure isn’t a Madam
Butterfly”. In order to affect the audience
so deeply, one has to explore all the mysteries of the music, transcend the
ancient tragedy into the present; briefly she has to be a hundred percent
present. But anyway, I went to La Scala
and sat very close to the stage.
Gluck’s opera is
dramatic and rigid. Queen Alceste sacrifices herself to the gods for the sake
of her husband’s life. At the scene
where she prostrates herself on the ground: Two women come and lift her up. It
looks like the Pietà of Michelangelo. Gencer’s each gesture fits miraculously and
perfectly into the music. The words that seem to have no meaning when read from
the score or the libretto suddenly mean everything; they mean the world. “Let
me die, let me die” she says. We become enchanted by the fascinating music and
Gencer’s intense and precise pronunciation of the words. As in all major tragedies, we feel whether
desperation or consolation. (Lorenzo Arruga)
CORRIERE DELLA SERA
1987.03.05
IL PICCOLO
1987.03.07
L'UNITA
1987.03.19
COMPLETE RECORDING
1972.04.27
Recording Excerpts [1972.04.27]
Divinità infernal Act I (Finale)
Cotanta Grazia...Al Pianto Vostro Act II (Finale)