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1Performing with sparkle and sway, the English Concert, under the baton of Canadian conductor Bernard Labadie, along with a stellar trio of soloists, gave a splendid concert performance of Gluck’s Orfeo and Euridice. Opening with a crisp sound, Labadie began with quick, nimble movements, before settling into a smoother style. There was an excellent balance between choir and orchestra, with both producing a rich, honeyed timbre. The chorus, as the furies, were almost shouting at the start of Act Two, while accompanied by rough and ready, striking string chords. Moving on the scene two, tinkling harp playing - used to represent Orfeo’s lyre - was softly accompanied by pizzicato strings, and the oboe playing in Orfeo's "Che puro ciel" was beautifully rounded. There was indeed - as per part of the aria’s translation -‘sweet, enchanting harmony’ displayed in the orchestra, with little bubbles and flourishes underpinned by a steady continuo.
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1Performing with sparkle and sway, the English Concert, under the baton of Canadian conductor Bernard Labadie, along with a stellar trio of soloists, gave a splendid concert performance of Gluck’s Orfeo and Euridice. Opening with a crisp sound, Labadie began with quick, nimble movements, before settling into a smoother style. There was an excellent balance between choir and orchestra, with both producing a rich, honeyed timbre. The chorus, as the furies, were almost shouting at the start of Act Two, while accompanied by rough and ready, striking string chords. Moving on the scene two, tinkling harp playing - used to represent Orfeo’s lyre - was softly accompanied by pizzicato strings, and the oboe playing in Orfeo's "Che puro ciel" was beautifully rounded. There was indeed - as per part of the aria’s translation -‘sweet, enchanting harmony’ displayed in the orchestra, with little bubbles and flourishes underpinned by a steady continuo.
