Christoph W. Gluck - Don Juan ou le Festin de Pierre, 15 Excerpts, Wq.52 (1761)

Christoph Willibald (Ritter von) Gluck (2 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period. Born in the Upper Palatinate and raised in Bohemia,[1] both part of the Holy Roman Empire, he gained prominence at the Habsburg court at Vienna. There he brought about the practical reform of opera's dramaturgical practices for which many intellectuals had been campaigning. With a series of radical new works in the 1760s, among them Orfeo ed Euridice and Alceste, he broke the stranglehold that Metastasian opera seria had enjoyed for much of the century. Gluck introduced more drama by using orchestral recitative and cutting the usually long da capo aria. His later operas have half the length of a typical baroque opera. Future composers like Mozart, Schubert, Berlioz and Wagner revered Gluck. Please support my channels: https://ko-fi.com/bartjebartmans Ballet Don Juan ou le Festin de Pierre, 15 Excerpts, Wq.52 (1761) Ranieri de' Calzabigi (1714-1795), scenario Sinfonia - Allegro (0:00) 1. Andante grazioso (1:47) 2. Andante (3:00) 3. Risoluto (4:51) 4. Allegro (6:08) 5. Moderato (7:32) 6. Grazioso (8:34) 7. Allegro (9:46) 8. Moderato (11:23) 9. Moderato risoluto (12:16) 10. Allegro (13:14) 11. Allegro (13:39) 12. Allegro (13:49) 13. Andante (14:04) 14. Adagio (15:33) 15. Allegro (17:41) Il Giardino Armonico conducted by Giovanni Antonini watch live performance here:    • Christoph Willibald Gluck - Don Juan (Il G...   Don Juan ou Le Festin de Pierre (Don Juan, or the Stone Guest's Banquet) is a ballet with a libretto by Ranieri de' Calzabigi, music by Christoph Willibald von Gluck, and choreography by Gasparo Angiolini. The ballet's first performance was in Vienna, Austria on Saturday, 17 October 1761, at the Theater am Kärntnertor. Its innovation in the history of ballet, coming a year before Gluck's radical reform of opera seria with his Orfeo ed Euridice (1762), was its coherent narrative element, though the series of conventional divertissement dances in the second act lies within the well-established ballet tradition of an entr'acte effecting a pause in the story-telling. The ballet follows the legend of Don Juan and his descent into Hell after killing his inamorata's father in a duel.