22:
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2399:
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2214:
920:
In a dense forest dedicated to the gods of the underworld, Ismene asks
Alceste why she is leaving her husband and children. Alceste tells Ismene of her intentions. Meanwhile, Admeto has a miraculous recovery to the joy of all Thessaly. Evandro tells him that someone has apparently sacrificed himself
929:
The decision of the gods is not revoked. The people lament the approaching death of
Alceste. Having said good-bye to Alceste, Admeto decides to follow her into death. Then the heavens open, Apollo descends and proclaims that the gods have given them their lives as a reward for their steadfast love.
911:
A herald announces to the people of
Thessaly that King Admeto is gravely ill and that there is little hope. Evandro calls upon all to pray to the oracle at the temple of Apollo. Alceste joins them and asks Apollo for pity. The oracle says Admeto can be rescued if another voluntarily sacrifices his
970:
The people, sorrowing again, prepare the royal couple's children for sacrifice in their place. Admetus' friend
Hercules arrives and promises to conquer death on his behalf, and travels to Hades. Meanwhile, Alceste has already arrived at the gates of hell; Admetus tries to dissuade her, but she is
952:
King
Admetus is dying, and his people are in despair. The god Apollo refuses their animal sacrifice, proclaiming that Admetus will live only if another person is sacrificed in his place. Queen Alceste believes she is the victim Apollo has in mind, but declares she will surrender her life only for
943:
The overture is stately, noble, and tragic, looking ahead to some of Mozart's minor-key works. The choir propels much of the action in the first two acts, and Gluck's vocal settings are particularly elegant, taking advantage of the French language's smooth rhythms, although the writing is rather
244:
conform to French tastes, resisting pressure to end the opera with an extended ballet. The new libretto does, however, introduce several subsidiary characters for dramatic variety, and, following the example of
Euripides, on whose work the libretto is loosely based, even calls in Hercules in the
971:
sacrificing herself for love, rather than as some heroic act. She dies, but
Hercules rescues her—except that now Alceste seems nearly insane. Apollo arrives, promises Hercules immortality, and leaves Admetus and Alceste in a world that seems devoid of death. The work ends with a joyful chorus.
961:
The people celebrate the king's recovery. Admetus does not realize that
Alceste has volunteered to die in his place, and his wife won't give herself up until the record is set straight. When he learns the truth, Admetus believes that Alceste is in effect abandoning him, and would prefer to die
489:
was "heavily in-inspired or rather plagiarized". Berlioz discussed the authenticity of some of the arias. For example, when Gluck went to Vienna, an aria was added to act 3. Berlioz came to the conclusion that Gluck was under so much pressure that he let it happen. Berlioz notes Gluck added
232:
became an essentially new work, the translation from
Italian to French necessitating several changes in the musical declamation of text, and certain scenes significantly reorganized to new or altered music. Some of the changes were made upon the advice of
1324:
481:, as well as texture and orchestration, for the Commendatore speaking to Don Giovanni in the garden scene that Gluck used for the line of the High Priest when saying that Alceste will die if no one takes her place.
343:
in the title role. Though the Paris revision of the opera was performed (with a few additions from the original Vienna edition), the performances were sung in
Italian. Subsequent productions there were conducted by
877:
1359:
921:
for the king. When Alceste appears, he questions her until she confesses. The desperate king hurries into the temple to plead with the gods. However, Alceste says good-bye to the children.
1408:
92:
in 1769, he added a famous preface in Italian almost certainly written by Calzabigi, which set out their ideals for operatic reform, whose programmatic points follow those exposed by
1784:
1321:
1224:
394:
made her Metropolitan Opera debut as Alceste, also in English. She sang the role eight times that season, and her last performance, on 11 February, remains the last time
1429:
237:, one of Gluck's greatest French admirers, but the bulk of the adaptation was the work of French aristocrat Du Roullet, with improvements by the composer.
2005:
2449:
2030:
293:
991:, Marion Lowe, Thomas Hemsley, Joan Clark, Rosemary Thayer, Geraint Jones Orchestra and singers, Geraint Jones (Decca LP LXT 5273–5276;. c. 1952)
1790:
368:, in its unabridged Italian version, also including the parts that Gluck himself had cut at the Vienna premiere out of practical necessities.
2159:
1760:
1405:
378:
in three different seasons, with four sopranos starring in eighteen performances. Its premiere on 24 January 1941, sung in French, featured
2444:
2419:
1605:
1509:
According to the cast list reported in the premiere libretto, as reproduced by Elena Tonolo, p. 61 and p. 102 (photo of the original page).
2454:
2025:
216:
was added as a pivotal character in Act III, as was a scene at the Gates of Hell. The premiere took place on 23 April 1776 in the second
490:
corrections during rehearsals, and misunderstandings in the score, due to what Berlioz calls Gluck's "happy-go-lucky" style of writing.
1466:
205:
1817:
1767:
869:
officers of the palace, Alcestis's attendants, citizens of Pherae, infernal deities, priests and priestesses in the temple of Apollo.
1655:
Alceste, Tragédie-opéra, en Trois Actes; Représentée pour la Première Fois, par l'Académie Royale de Musique, Le Mardì 16 Avril 1776
1775:
1747:(theatre programme), Venice, Fondazione Teatro La Fenice, 2015, pp. 57–106, ISSN 2280-8116 (accessible online as a PDF at the
1389:
2459:
1998:
1343:
1218:
1163:
Hayes, p. 62. For Millico, Gluck's favourite singer and intimate friend, the composer had already transposed up the originally
1150:
459:
Nowadays the opera is usually given in the Paris version musically, with the libretto sometimes back-translated into Italian.
1726:
1705:
1687:
1571:
1260:
1274:
1730:
2306:
21:
2375:
1991:
1635:
1553:, personally demanded by Gluck, was only implemented at the last moment, after the libretto had already been printed.
1202:
1005:
2424:
1543:
in 1776 (digitized by Gallica B.N.F.; cf below). Evidently, the reinstatement of the character of Hercules from
2071:
912:
life. This causes great consternation. Alone, Alceste agonizes whether to give her life for that of her husband.
1426:
1189:). In 1774, while travelling through Paris, he was also called upon to perform in private the French version of
1148:
An online English translation of the preface can be found in the theatre programme: Christoph Willibald Gluck,
1662:
884:
2213:
1810:
26:
2167:
2220:
301:
2119:
2095:
2151:
2389:
2079:
1748:
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2014:
1193:(with Gluck himself at the harpsichord) before it was premiered at the Opéra (Patricia Howard (ed.),
51:
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1057:
261:
150:
59:
2228:
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According to Paolo Rossini (both versions), pp. 37-38, and Elena Tonolo (Italian version), p. 61.
988:
2300:
2183:
1599:
876:
401:
371:
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at Covent Garden. Released on CD on the Ponto label in 2005. Cast includes: Elaine Mary Hall,
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courtiers, citizens, Alcestis's maids of honour, priests of Apollo, gods of the underworld
8:
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1111:
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357:
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at the Paris Opéra. This was remounted, with further rearrangements, in 1866, starring
133:
a more predominantly syllabic setting of the text to make the words more intelligible,
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1791:"'Io non comprendo la musica di Gluck': A Production of Alceste in Naples, 1785"
2292:
1089:
1021:
482:
425:
391:
382:. There were four more performances that season, two starring Lawrence and two
297:
277:
1590:") at the beginning of the 1776 libretto, but appears later during the action.
2413:
1952:
1013:
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558:
441:
409:
349:
265:
154:
1983:
260:
The first British performance, which was sung in Italian, took place at the
147:
and aria, declamatory and lyrical passages, with altogether less recitative,
2403:
2087:
833:
469:
405:
383:
353:
340:
289:
285:
268:. The work was given in French during the Coronation Season of 1937 at the
109:
280:
as Alceste. More recent productions in Britain have included those at the
178:
voice, although Gluck would return to using a castrato in his next opera,
1197:, Cambridge/New York/Melbourne, Cambridge University Press, 2010, p. 71,
1123:
1107:
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73:
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144:
1700:, Grove (Oxford University Press), New York, 1997, I, pp. 62–70,
360:, respectively. In 2015 the opera was given for the first time by the
184:, and even rewrite the tenor role of Admetus for the soprano castrato
2103:
1832:
1696:
Hayes, Jeremy, "Alceste (ii) ('Alcestis')", in Sadie, Stanley (ed.),
1544:
1164:
1064:. Released on CD and DVD on the Philips label in 2002. Cast includes
1025:
837:
69:
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1851:
1626:
Woodstra, Chris; Brennan, Gerald; Schrott, Allen (September 2005),
754:
687:
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213:
175:
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120:
55:
1870:
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535:
249:
made adjustments to the opera for a staging in 1861 that starred
246:
127:
1539:
This role is nowhere mentioned in the libretto published by the
2191:
1928:
1885:
1846:
679:
89:
1174:
550:
47:
2398:
1008:. Released on CD in 1995 on the Orfeo label. Cast includes:
1860:
137:
1562:
The name of the performer is stated in: Laura Macy (ed),
1530:
Modern French spelling; spelt "Admette" in the libretto.
240:
Gluck fought several efforts to make the new version of
1721:, Milan, Baldini Castoldi Dalai, 2007, pp. 37–40,
1038:(Vienna version) Ringholz/Lavender/Degerfeldt/Treichl,
1625:
933:
404:
opened its 1990 season with performances conducted by
167:
that is linked by theme or mood to the ensuing action.
2387:
1785:
Italian libretto with English translation (naxos.com)
72:. The premiere took place on 26 December 1767 at the
1657:, Parigi, Delormel, 1776 (accessibile gratuitamente
983:(Original Italian version edited by Geraint Jones),
448:
in Munich, presented the work in 2019, conducted by
1586:This character is not featured in the cast list ("
1167:role of Orfeo in the first Italian performance of
195:
1566:, Oxford. Oxford University Press, 2008, p. 567,
1154:, Wiener Staatsoper, Season 2012-1013, pp. 41-43.
2411:
1717:, in Gelli, Piero & Poletti, Filippo (eds),
1255:, London and New York, Routledge, 2016, p. 392,
386:. In 1952 the opera was given in English, with
1473:, Bayerische Staatsoper. Retrieved 31 May 2020
477:and the year Gluck died Mozart used a similar
2013:
1999:
1811:
1424:Craig Smith, "Lustrous music saves Alceste",
1331:, Glyndebourne Archive. Retrieved 31 May 2020
1415:, Lyric Opera archive. Retrieved 31 May 2020
2006:
1992:
1818:
1804:
1526:
1524:
1825:
1768:International Music Score Library Project
1362:, La Scala archive. Retrieved 31 May 2020
420:in 2006, and this production was filmed.
2450:Opera world premieres at the Burgtheater
1677:
875:
20:
1582:
1580:
1521:
1350:, Opera Scotland. Retrieved 31 May 2020
1308:
1306:
1304:
1302:
1300:
432:in the title role. A production at the
206:François-Louis Gand Le Bland Du Roullet
2412:
1379:
1377:
1213:
1211:
473:, written in 1787, twenty years after
462:
416:appeared in ten performances with the
390:in the title role. On 6 December 1960
223:
143:a blurring of the distinction between
136:far less repetition of text within an
1987:
1799:
212:, retaining the three-act structure.
79:
29:for the 1776 French-language première
1577:
1297:
352:(1987) with the title role sung by
160:simpler, more flowing melodic lines,
2445:Operas based on classical mythology
2420:Operas by Christoph Willibald Gluck
2256:(1765, unperformed in his lifetime)
1745:Christoph Willibald Gluck - Alceste
1374:
1242:Expression and Revision in Gluck's
1208:
934:Synopsis, with French Version Edits
304:with the title role shared between
123:displays of vocal agility or power,
13:
2455:Operas based on works by Euripides
1743:, libretto e guida all’opera", in
1628:All Music Guide to Classical Music
1494:
1186:Orfeo ed Euridice#Revised versions
953:love. (Aria: "Divinites du Styx")
84:When Gluck published the score of
16:Opera by Christoph Willibald Gluck
14:
2471:
1754:
1698:The New Grove Dictionary of Opera
1668:Berlioz, Hector, tr. Edwin Evans,
1222:(French version), opera in 3 acts
1006:Bavarian Radio Symphony Orchestra
902:Place: Classical Pherae, Thessaly
712:protector of the house of Admetus
228:With the presentations in Paris,
2397:
2370:
2369:
2305:
2212:
200:Gluck recomposed and lengthened
42:37 (the later French version is
1630:, Backbeat Books, p. 505,
1619:
1593:
1564:The Grove Book of Opera Singers
1556:
1533:
1518:According to the 1776 libretto.
1512:
1503:
1485:
1476:
1457:
1440:
1418:
1399:
1365:
1353:
196:Recomposition in 1776 for Paris
2460:Works based on Alcestis (play)
1448:"Alceste, Teatro Real, Madrid"
1334:
1315:
1284:
1265:
1240:Sternfeld, Frederick William,
1234:
1157:
1142:
98:Saggio sopra l'opera in musica
1:
1384:Metropolitan Opera Archives (
1251:, in Howard, Patricia (ed),
1130:
974:
635:a leader of the Pherae people
485:claimed that this section of
436:Madrid in 2014, conducted by
58:(in Italian) was written by
7:
944:static in its sad dignity.
897:Original version in Italian
891:
264:on 30 April 1795, starring
10:
2476:
2080:La Semiramide riconosciuta
1719:Dizionario dell'opera 2008
1680:The New Kobbé's Opera Book
1678:Harewood, Earl of (1997).
1674:, London: Wm Reeves, 1915.
1541:Académie Royale de Musique
1272:The Hector Berlioz Website
965:
956:
947:
540:King of Pherae in Thessaly
25:Set design for Act III by
2365:
2342:
2324:
2072:Le nozze d'Ercole e d'Ebe
2039:
2021:
2015:Christoph Willibald Gluck
1963:
1912:
1894:
1839:
1491:Berlioz (1915), pp. 49–51
1396:). Retrieved 31 May 2020.
866:
858:
613:silent characters (1776)
188:, in the 1770 revival of
174:also has no role for the
115:no opportunity for vocal
52:Christoph Willibald Gluck
2120:L'innocenza giustificata
1749:Teatro La Fenice website
1427:The Santa Fe New Mexican
1058:English Baroque Soloists
924:
915:
906:
652:a confidante of Alcestis
493:
208:for performances at the
204:to a French libretto by
27:François-Joseph Bélanger
2425:Italian-language operas
1231:, p. 44 on allmusic.com
716:baritone or bass (1767)
684:High Priest of Apollon
364:in Venice, directed by
102:Essay on opera in music
1729:(reproduced online at
1653:French 1776 libretto:
1122:, Philip Gelling, and
1042:Chorus and Orchestra,
888:
629:a confidant of Admetus
402:Lyric Opera of Chicago
372:The Metropolitan Opera
316:in 1981, conducted by
300:in 1974, conducted by
296:(1958) as Alceste; by
262:King's Theatre, London
62:and based on the play
30:
2229:La rencontre imprévue
2064:La caduta de' giganti
1739:Tonolo, Elena (ed), "
1482:Berlioz (1915), p. 85
1294:, 30 April 1795, p. 1
1195:C.W. von Gluck: Orfeo
1110:, Janice Hooper-Roe,
1040:Drottningholm Theatre
879:
418:Stuttgart State Opera
398:was seen at the Met.
318:Sir Charles Mackerras
282:Glyndebourne Festival
235:Jean-Jacques Rousseau
218:Salle du Palais-Royal
60:Ranieri de' Calzabigi
24:
2301:Iphigénie en Tauride
2221:Il trionfo di Clelia
2031:List of compositions
1682:. New York: Putnam.
1671:Gluck and his operas
1066:Anne Sofie von Otter
881:The Death of Alceste
645:M. Tirot (o Thirot)
446:Bavarian State Opera
428:in August 2009 with
346:Gianandrea Gavazzeni
292:(1953 and 1954) and
2285:Iphigénie en Aulide
2152:La Cythère assiégée
2096:La clemenza di Tito
1972:Alcmaeon in Psophis
1452:The Financial Times
1446:Apthorpe, Shirley.
1054:John Eliot Gardiner
1052:with conductor Sir
627:Evandro (Evander),
605:Their two children
598:Eumelo and Aspasia,
463:Influence on Mozart
456:in the title role.
450:Antonello Manacorda
414:Catherine Naglestad
329:Carlo Maria Giulini
324:in the title role.
224:Performance history
94:Francesco Algarotti
2237:Il Parnaso confuso
2168:Le diable Ă quatre
1948:(Schweitzer, 1773)
1903:The Cocktail Party
1778:2018-08-12 at the
1608:2013-03-02 at the
1469:2020-09-24 at the
1432:2017-12-01 at the
1411:2020-09-20 at the
1392:2018-08-12 at the
1346:2021-05-15 at the
1327:2023-10-10 at the
1290:"King's Theatre",
1277:2015-02-11 at the
1227:2013-06-21 at the
1191:Orphée et Eurydice
1112:John Shirley-Quirk
1084:, Katherine Fuge,
889:
729:An infernal deity
710:Apollon (Apollo),
587:Antonia Bernasconi
454:Dorothea Röschmann
358:Rosalind Plowright
80:The famous preface
31:
2385:
2384:
2269:Le feste d'Apollo
2208:Orfeo ed Euridice
2184:L'ivrogne corrigé
2144:La fausse esclave
1981:
1980:
1773:MetOpera database
1727:978-88-6073-184-5
1706:978-0-19-522186-2
1689:978-0-399-14332-8
1572:978-0-19-533765-5
1261:978-1-4724-4320-5
1180:Le feste d'Apollo
1170:Orfeo ed Euridice
1100:Charles Mackerras
1070:Dietrich Henschel
1024:, Roland Bracht,
874:
873:
801:A herald of arms
592:Rosalie Levasseur
555:Giuseppe Tibaldi
479:chord progression
380:Marjorie Lawrence
337:Teatro alla Scala
270:Royal Opera House
104:, 1755), namely:
2467:
2402:
2401:
2393:
2373:
2372:
2350:Alfred Wotquenne
2314:Écho et Narcisse
2309:
2216:
2176:L'arbre enchanté
2008:
2001:
1994:
1985:
1984:
1820:
1813:
1806:
1797:
1796:
1766:: Scores at the
1738:
1713:Rossini, Paolo,
1712:
1693:
1663:Gallica - B.N.F.
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1437:, 3 August 2009.
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1312:Harewood, p. 263
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1206:
1161:
1155:
1146:
1116:Jonathan Summers
1062:Monteverdi Choir
985:Kirsten Flagstad
828:(chorus leaders)
732:An infernal god
718:baritone (1776)
666:Teresa Eberardi
546:King of Thessaly
516:Original version
501:Original version
498:
497:
444:as Alceste; the
430:Christine Brewer
388:Kirsten Flagstad
366:Pier Luigi Pizzi
362:Teatro La Fenice
302:Alexander Gibson
274:Philippe Gaubert
186:Giuseppe Millico
155:secco recitative
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2277:Paride ed Elena
2160:L'île de Merlin
2035:
2017:
2012:
1982:
1977:
1959:
1908:
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1780:Wayback Machine
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1229:Wayback Machine
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1118:, Mark Curtis,
1098:with conductor
989:Alexander Young
987:, Raoul Jobin,
977:
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950:
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927:
918:
909:
894:
867:Chorus (1776):
859:Chorus (1767):
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847:
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814:
807:Domenico Poggi
793:
786:Domenico Poggi
767:
750:
738:Domenico Poggi
721:Filippo Laschi
717:
699:Filippo Laschi
695:
678:High Priest of
673:
660:
642:Antonio Pulini
622:
612:
599:
528:
526:
524:
523:Revised version
519:
517:
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506:Revised version
502:
496:
465:
339:in Milan, with
272:, conducted by
251:Pauline Viardot
226:
198:
181:Paride ed Elena
82:
54:from 1767. The
17:
12:
11:
5:
2473:
2463:
2462:
2457:
2452:
2447:
2442:
2437:
2432:
2427:
2422:
2407:
2406:
2383:
2382:
2380:
2379:
2366:
2363:
2362:
2360:
2359:
2352:
2346:
2344:
2340:
2339:
2337:
2336:
2328:
2326:
2322:
2321:
2319:
2318:
2310:
2297:
2289:
2281:
2273:
2265:
2257:
2249:
2241:
2233:
2225:
2217:
2204:
2196:
2188:
2180:
2172:
2164:
2156:
2148:
2140:
2132:
2124:
2116:
2108:
2100:
2092:
2084:
2076:
2068:
2060:
2052:
2043:
2041:
2037:
2036:
2034:
2033:
2028:
2026:List of operas
2022:
2019:
2018:
2011:
2010:
2003:
1996:
1988:
1979:
1978:
1976:
1975:
1967:
1965:
1961:
1960:
1958:
1957:
1949:
1941:
1933:
1932:(Handel, 1727)
1925:
1916:
1914:
1910:
1909:
1907:
1906:
1898:
1896:
1892:
1891:
1889:
1888:
1883:
1878:
1873:
1868:
1863:
1858:
1849:
1843:
1841:
1837:
1836:
1823:
1822:
1815:
1808:
1800:
1794:
1793:
1789:John A. Rice,
1787:
1782:
1770:
1756:
1755:External links
1753:
1752:
1751:
1734:
1708:
1694:
1688:
1675:
1666:
1643:
1642:
1636:
1618:
1616:, 18 May 2006.
1592:
1576:
1555:
1532:
1520:
1511:
1502:
1493:
1484:
1475:
1456:
1454:, 4 March 2014
1439:
1417:
1398:
1373:
1371:Tonolo, p. 60.
1364:
1352:
1333:
1314:
1296:
1283:
1264:
1233:
1207:
1177:in 1769 (cf.:
1156:
1140:
1139:
1132:
1129:
1128:
1127:
1093:
1090:Ludovic Tezier
1047:
1033:
1022:Robert Gambill
992:
976:
973:
967:
964:
958:
955:
949:
946:
935:
932:
926:
923:
917:
914:
908:
905:
904:
903:
893:
890:
872:
871:
864:
863:
856:
855:
852:(not reported)
850:
848:
843:
841:
830:
824:
819:
816:
815:
812:(not reported)
810:
808:
805:
802:
799:
795:
794:
791:(not reported)
789:
787:
784:
781:
778:
774:
773:
771:Henri Larrivée
768:
763:
761:
758:
751:
746:
743:
742:
741:M. De La Suze
739:
736:
733:
730:
726:
725:
722:
719:
714:
708:
704:
703:
702:Nicolas GĂ©lin
700:
697:
685:
682:
675:
674:
669:
667:
664:
661:
656:
654:
647:
646:
643:
640:
637:
631:
624:
623:
620:(not reported)
618:
616:
614:
606:
603:
601:their children
595:
594:
589:
584:
579:
573:
562:
561:
556:
553:
548:
542:
531:
530:
521:
514:
509:
504:
495:
492:
483:Hector Berlioz
464:
461:
426:Santa Fe Opera
392:Eileen Farrell
298:Scottish Opera
294:Consuelo Rubio
278:Germaine Lubin
225:
222:
197:
194:
169:
168:
161:
158:
148:
141:
134:
131:
124:
113:
81:
78:
15:
9:
6:
4:
3:
2:
2472:
2461:
2458:
2456:
2453:
2451:
2448:
2446:
2443:
2441:
2438:
2436:
2433:
2431:
2428:
2426:
2423:
2421:
2418:
2417:
2415:
2405:
2400:
2395:
2394:
2391:
2378:
2377:
2368:
2367:
2364:
2358:
2357:
2353:
2351:
2348:
2347:
2345:
2341:
2335:
2334:
2330:
2329:
2327:
2323:
2316:
2315:
2311:
2308:
2303:
2302:
2298:
2295:
2294:
2290:
2287:
2286:
2282:
2279:
2278:
2274:
2271:
2270:
2266:
2263:
2262:
2258:
2255:
2254:
2250:
2247:
2246:
2242:
2239:
2238:
2234:
2231:
2230:
2226:
2223:
2222:
2218:
2215:
2210:
2209:
2205:
2202:
2201:
2197:
2194:
2193:
2189:
2186:
2185:
2181:
2178:
2177:
2173:
2170:
2169:
2165:
2162:
2161:
2157:
2154:
2153:
2149:
2146:
2145:
2141:
2138:
2137:
2136:Il re pastore
2133:
2130:
2129:
2125:
2122:
2121:
2117:
2114:
2113:
2109:
2106:
2105:
2101:
2098:
2097:
2093:
2090:
2089:
2085:
2082:
2081:
2077:
2074:
2073:
2069:
2066:
2065:
2061:
2058:
2057:
2053:
2050:
2049:
2045:
2044:
2042:
2038:
2032:
2029:
2027:
2024:
2023:
2020:
2016:
2009:
2004:
2002:
1997:
1995:
1990:
1989:
1986:
1974:
1973:
1969:
1968:
1966:
1962:
1956:(Talma, 1962)
1955:
1954:
1953:The Alcestiad
1950:
1947:
1946:
1942:
1940:(Gluck, 1767)
1939:
1938:
1934:
1931:
1930:
1926:
1924:(Lully, 1674)
1923:
1922:
1918:
1917:
1915:
1911:
1905:
1904:
1900:
1899:
1897:
1893:
1887:
1884:
1882:
1879:
1877:
1874:
1872:
1869:
1867:
1864:
1862:
1859:
1857:
1853:
1850:
1848:
1845:
1844:
1842:
1838:
1834:
1830:
1829:
1821:
1816:
1814:
1809:
1807:
1802:
1801:
1798:
1792:
1788:
1786:
1783:
1781:
1777:
1774:
1771:
1769:
1765:
1763:
1759:
1758:
1750:
1746:
1742:
1735:
1732:
1731:Opera Manager
1728:
1724:
1720:
1716:
1709:
1707:
1703:
1699:
1695:
1691:
1685:
1681:
1676:
1673:
1672:
1667:
1664:
1660:
1656:
1652:
1651:
1650:
1649:
1639:
1637:0-87930-865-6
1633:
1629:
1622:
1615:
1611:
1607:
1604:
1603:
1596:
1589:
1583:
1581:
1573:
1569:
1565:
1559:
1552:
1551:
1546:
1542:
1536:
1527:
1525:
1515:
1506:
1497:
1488:
1479:
1472:
1468:
1465:
1460:
1453:
1449:
1443:
1436:
1435:
1431:
1428:
1421:
1414:
1410:
1407:
1402:
1395:
1391:
1388:
1387:
1380:
1378:
1368:
1361:
1356:
1349:
1345:
1342:
1337:
1330:
1326:
1323:
1318:
1309:
1307:
1305:
1303:
1301:
1293:
1287:
1280:
1276:
1273:
1268:
1262:
1258:
1254:
1250:
1249:
1245:
1237:
1230:
1226:
1223:
1221:
1214:
1212:
1204:
1203:0-521-29664-1
1200:
1196:
1192:
1188:
1187:
1182:
1181:
1176:
1172:
1171:
1166:
1160:
1153:
1152:
1145:
1141:
1138:
1137:
1126:among others.
1125:
1121:
1117:
1113:
1109:
1105:
1101:
1097:
1094:
1092:among others.
1091:
1087:
1086:Nicolas Testé
1083:
1079:
1075:
1071:
1067:
1063:
1059:
1055:
1051:
1048:
1046:(Naxos, 1999)
1045:
1044:Arnold Ă–stman
1041:
1037:
1034:
1031:
1027:
1023:
1019:
1015:
1014:Nicolai Gedda
1011:
1010:Jessye Norman
1007:
1003:
1000:
996:
993:
990:
986:
982:
979:
978:
972:
963:
954:
945:
941:
940:
939:Paris version
931:
922:
913:
901:
900:
899:
898:
886:
885:Pierre Peyron
882:
878:
870:
865:
862:
857:
853:
849:
846:
842:
839:
835:
831:
829:
825:
822:
818:
817:
813:
809:
806:
803:
800:
798:A town crier
797:
796:
792:
788:
785:
782:
779:
776:
775:
772:
769:
766:
762:
759:
756:
752:
749:
745:
744:
740:
737:
734:
731:
728:
727:
723:
720:
715:
713:
709:
706:
705:
701:
698:
693:
689:
686:
683:
681:
677:
676:
672:
668:
665:
662:
659:
655:
653:
649:
648:
644:
641:
638:
636:
632:
630:
626:
625:
621:
617:
615:
610:
607:
604:
602:
597:
596:
593:
590:
588:
585:
583:
580:
578:
577:Admète's wife
574:
572:
568:
564:
563:
560:
559:Joseph Legros
557:
554:
552:
549:
547:
543:
541:
537:
533:
532:
529:Conductor: –
525:Premiere cast
522:
520:Vienna, 1767
518:Premiere cast
515:
513:
510:
505:
500:
499:
491:
488:
484:
480:
476:
472:
471:
460:
457:
455:
451:
447:
443:
442:Angela Denoke
439:
435:
431:
427:
424:was given by
423:
419:
415:
411:
410:Jessye Norman
407:
403:
399:
397:
393:
389:
385:
381:
377:
373:
369:
367:
363:
359:
355:
351:
350:Riccardo Muti
347:
342:
338:
334:
330:
325:
323:
319:
315:
312:; and by the
311:
307:
303:
299:
295:
291:
287:
284:conducted by
283:
279:
275:
271:
267:
266:Brigida Banti
263:
258:
256:
252:
248:
243:
238:
236:
231:
221:
219:
215:
211:
207:
203:
193:
191:
187:
183:
182:
177:
173:
166:
162:
159:
156:
152:
149:
146:
142:
139:
135:
132:
129:
125:
122:
118:
117:improvisation
114:
111:
110:da capo arias
107:
106:
105:
103:
99:
95:
91:
87:
77:
75:
71:
67:
66:
61:
57:
53:
49:
45:
41:
37:
36:
28:
23:
19:
2374:
2354:
2331:
2312:
2299:
2291:
2283:
2275:
2267:
2260:
2259:
2251:
2243:
2235:
2227:
2219:
2206:
2200:Le cadi dupé
2198:
2190:
2182:
2174:
2166:
2158:
2150:
2142:
2134:
2126:
2118:
2110:
2102:
2094:
2086:
2078:
2070:
2062:
2054:
2046:
1970:
1951:
1943:
1936:
1935:
1927:
1919:
1901:
1826:
1761:
1744:
1740:
1737:(in Italian)
1718:
1714:
1711:(in Italian)
1697:
1679:
1669:
1658:
1654:
1647:
1646:
1627:
1621:
1613:
1601:
1595:
1587:
1563:
1558:
1548:
1540:
1535:
1514:
1505:
1496:
1487:
1478:
1459:
1451:
1442:
1425:
1420:
1401:
1385:
1367:
1355:
1336:
1317:
1291:
1286:
1267:
1252:
1247:
1243:
1241:
1236:
1219:
1217:James Reel,
1194:
1190:
1184:
1178:
1168:
1159:
1149:
1144:
1135:
1134:
1120:Matthew Best
1095:
1049:
1035:
994:
980:
969:
960:
951:
942:
938:
937:
928:
919:
910:
896:
895:
880:
868:
860:
851:
844:
834:haute-contre
827:
820:
811:
790:
764:
747:
711:
696:bass (1776)
670:
657:
651:
634:
628:
619:
600:
576:
570:
545:
539:
487:Don Giovanni
486:
474:
470:Don Giovanni
468:
466:
458:
421:
412:as Alceste.
406:Gary Bertini
400:
395:
384:Rose Bampton
375:
370:
354:Leyla Gencer
341:Maria Callas
332:
326:
306:Júlia Várady
290:Magda Laszlo
286:Vittorio Gui
259:
245:final act.
241:
239:
229:
227:
201:
199:
189:
179:
171:
170:
153:rather than
101:
97:
85:
83:
63:
34:
33:
32:
18:
2435:1776 operas
2430:1767 operas
1861:Maidservant
1614:Opera today
1124:Robert Tear
1108:Janet Baker
1104:Royal Opera
1082:Joanne Lunn
1078:Yann Beuron
1074:Paul Groves
1030:Bernd Weikl
1002:Serge Baudo
826:Choryphaei
527:Paris, 1776
440:, featured
438:Ivor Bolton
434:Teatro Real
348:(1972) and
322:Janet Baker
314:Royal Opera
255:Marie Battu
210:Paris Opera
192:in Vienna.
151:accompanied
76:in Vienna.
74:Burgtheater
46:44), is an
2414:Categories
2056:Ipermestra
2048:Demofoonte
1840:Characters
1292:The Oracle
1131:References
1060:, and the
1018:Peter Lika
975:Recordings
780:An oracle
777:An oracle
724:M. Moreau
512:Voice type
331:conducted
310:Ann Murray
145:recitative
2253:La corona
2104:Le cinesi
1833:Euripides
1545:Euripides
1464:"Alceste"
1406:"Alceste"
1360:"Alceste"
1341:"Alceste"
1322:"Alceste"
1165:contralto
1026:Kurt Rydl
999:conductor
962:himself.
845:(no role)
832:soprano,
821:(no role)
765:(no role)
753:Hercule (
748:(no role)
671:(no role)
658:(no role)
633:Evandre,
575:Alceste,
565:Alceste (
327:In 1954,
121:virtuosic
70:Euripides
2376:Category
2356:Chaconne
2333:Don Juan
2245:Telemaco
2128:Antigono
2112:La danza
1881:Heracles
1866:Alcestis
1852:Thanatos
1828:Alcestis
1776:Archived
1764:, Wq. 44
1606:Archived
1550:Alcestis
1467:Archived
1430:Archived
1409:Archived
1390:Archived
1344:Archived
1325:Archived
1275:Archived
1225:Archived
1004:and the
892:Synopsis
755:Hercules
688:baritone
663:soprano
650:Ismene,
571:his wife
567:Alcestis
544:Admète,
534:Admeto (
452:, with
214:Hercules
176:castrato
165:overture
128:melismas
126:no long
65:Alcestis
56:libretto
2343:Related
2304:(1779)
2261:Alceste
2211:(1762)
1964:Related
1945:Alceste
1937:Alceste
1921:Alceste
1876:Eumelus
1871:Admetus
1762:Alceste
1741:Alceste
1715:Alceste
1661:presso
1648:Sources
1602:Alceste
1600:Gluck:
1588:Acteurs
1386:Alceste
1248:Alceste
1220:Alceste
1151:Alceste
1096:Alceste
1050:Alceste
1036:Alceste
995:Alceste
981:Alceste
840:, bass
707:Apollo
609:trebles
582:soprano
536:Admetus
475:Alceste
422:Alceste
396:Alceste
376:Alceste
335:at the
333:Alceste
320:, with
288:, with
247:Berlioz
242:Alceste
230:Alceste
202:Alceste
190:Alceste
172:Alceste
96:in his
86:Alceste
35:Alceste
2440:Operas
2390:Portal
2325:Ballet
2317:(1779)
2296:(1777)
2293:Armide
2288:(1774)
2280:(1770)
2272:(1769)
2264:(1767)
2248:(1765)
2240:(1765)
2232:(1764)
2224:(1763)
2203:(1761)
2195:(1760)
2192:Tetide
2187:(1760)
2179:(1759)
2171:(1759)
2163:(1758)
2155:(1759)
2147:(1758)
2139:(1756)
2131:(1756)
2123:(1755)
2115:(1755)
2107:(1754)
2099:(1752)
2091:(1750)
2083:(1748)
2075:(1747)
2067:(1746)
2059:(1744)
2051:(1743)
2040:Operas
1929:Admeto
1913:Operas
1886:Pheres
1847:Apollo
1725:
1704:
1686:
1659:online
1634:
1570:
1259:
1201:
1088:, and
1056:, the
1028:, and
887:(1785)
838:taille
694:(1767)
680:Apollo
639:tenor
611:(1767)
90:Vienna
2404:Opera
1895:Plays
1856:Death
1612:, on
1253:Gluck
1244:Orfeo
1175:Parma
1173:, at
1136:Notes
997:with
966:Act 3
957:Act 2
948:Act 1
925:Act 3
916:Act 2
907:Act 1
804:bass
783:bass
760:bass
735:bass
551:tenor
508:Role
503:Role
494:Roles
408:with
374:gave
276:with
48:opera
2088:Ezio
1723:ISBN
1702:ISBN
1684:ISBN
1632:ISBN
1568:ISBN
1257:ISBN
1246:and
1199:ISBN
1183:and
1102:and
692:bass
356:and
308:and
138:aria
1831:by
883:by
690:or
569:),
538:),
467:In
163:an
119:or
108:no
88:in
68:by
50:by
44:Wq.
40:Wq.
2416::
1854:/
1579:^
1547:'
1523:^
1450:,
1376:^
1299:^
1210:^
1205:).
1114:,
1080:,
1076:,
1072:,
1068:,
1020:,
1016:,
1012:,
836:,
757:)
257:.
220:.
38:,
2392::
2007:e
2000:t
1993:v
1819:e
1812:t
1805:v
1733:)
1692:.
1665:)
1574:.
1281:.
1032:.
157:,
140:,
130:,
112:,
100:(
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