(review in English below)
Orfeo chora a perda da mulher, Euridice, em frente ao seu túmulo. Surge o Cupido (Amore) que lhe diz que os desues, sensibilizados com a sua dor, lhe permitem descer aos infernos e trazer de volta Euridice, com a condição de não olhar para ela nem lhe dizer o porquê dessa atitude. Orfeo, nos infernos, canta e toca a sua lira para acalmar os guardiães, encontra Euridice, toma-a pela mão e, sem olhar para ela, pede-lhe que volte com ele. Euridice não compreende a atitude de Orfeo e atribui-a à frieza de espírito e critica-o. Orfeo acaba por olhar para Euridice e ela cai, de imediato, inanimada. Orfeu fica desesperado mas surge de novo Amore que lhe diz que merece ter a Euridice, sendo-lhe restituída a vida. A ópera termina com todos a cantarem a força do amor.
Um espectáculo muito agradável e consideravelmente diferente do habitual.
****
Orfeo ed Euridice - Metropolitan Opera, April 2011
Orfeo ed Euridice is an opera by Christoph Willibald Gluck with a libretto by Ranieri Calzabigi. It takes place in the Greek mythological world and tells the story of Orpheus (which received from his mother the gift of music) that soon after marrying Euridice (after the marriage she was bitten by a snake and died) decides to descend into hell, where no human being had gone before, to ask the gods to give him back his Euridice.
Orfeo ed Euridice is an opera by Christoph Willibald Gluck with a libretto by Ranieri Calzabigi. It takes place in the Greek mythological world and tells the story of Orpheus (which received from his mother the gift of music) that soon after marrying Euridice (after the marriage she was bitten by a snake and died) decides to descend into hell, where no human being had gone before, to ask the gods to give him back his Euridice.
The opera was premiered in Vienna in 1762 and broke the tradition of Italian opera, which was characterized by having several leading soloists, including two pairs of lovers, elaborate arias and no chorus. In this case there are only three soloists, the chorus is the main part of the opera, and there are no arias of great vocal complexity (ideal for castrati, who dominated the opera at the time, showing their acrobatic vocal talents), but rather simpler arias, to impress the audience by their more dramatic sensitivity.
Orpheus mourns the loss of his wife, Euridice, in front of her tomb. Cupid (Amore) appears and tells him that the gods, touched by his pain, allow him to descend into hell and bring back Euridice, on condition he does not look at her or tell her why his attitude. Orpheus, in the hell, sings and plays his harp to calm down the keepers, finds Eurydice, takes her hand and, without looking at her, ask her to return with him. Euridice does not understand the attitude of Orpheus and assigns it to his coolness and criticizes him. Orpheus decides to look at Euridice and she falls instantly lifeless. Orpheus is desperate but Amore appears again and tells him that he deserves to have Euridice back. She is restored to life. The opera ends with everyone singing the power of love.
Mark Morris developed an unconventional staging. The choir is arranged in several rows in height, an amphitheater, which surrounds the stage. Its elements perform rhythmic gestures but the stage interpretation of is carried out by a large group of dancers dressed in contemporary fashion. Amore descends, hanging down from the top of the stage. For Orpheu's descent into hell, there is also a long staircase that extends down from the stage. In the underworld, after a rotation of the stage, Orpheus and Eurydice walk along a narrow path among rocks. Interesting.
The Australian Antony Walker conducted in a bright way a small baroque orchestra, with an harpsichordist of excellent quality, Jonathan Kelly. The choir was exceptional and, in this opera, its role is of equal importance to the principal soloist.
David Daniels, American counter-tenor was a high quality Orpheus. He projected his voice loud and clear, even in a theater with the dimensions of the Met. The timbre is of considerable beauty, and in the aria "Che faro senza Euridice?" his despair was notorious.
Euridice was interpreted by British soprano Kate Royal. She was another great performer of the night. The voice is young, fresh and very audible, while keeping the same quality in all registers. Artistically she was quite credible and her figure is very well suited to the character.
Lisette Oropesa, American soprano, had also a very nice presence in the role of Amore. She is another young singer with a beautiful, clean voice that was at the same quality level of the other soloists. And she proved to be cold-blooded to descend (and rise) of the heights, while singing, just hanging by a cable that was barely seen.
Lisette Oropesa, American soprano, had also a very nice presence in the role of Amore. She is another young singer with a beautiful, clean voice that was at the same quality level of the other soloists. And she proved to be cold-blooded to descend (and rise) of the heights, while singing, just hanging by a cable that was barely seen.
It was a very nice performance, different from the conventional.
****
Caro Fanático,
ResponderEliminaralém da habitual qualidade de suas crônicas, há para mim um atrativo especial no tema de Orfeu: uma adaptação feita por Chico Buarque de Holanda, grande poeta, romancista, cantor, compositor e intelectual brasileiro, meu contemporâneo, e que é muito bonita - Orfeu no Carnaval é o nome da peça, depois adaptada para o cinema.
Um bom dia e um grande abraço de todos do atelier
Tenho vindo a crescer a minha paixão por Gluck desde o seu Iphigenie en Tauride que pude ver em Madrid e depois no Metlive na temporada passada.
ResponderEliminarEsta obra que tão bem nos descreve tem também passagens de uma beleza inconfundivel e verdadeiros marcos na história da Ópera.
Nunca ouvi o David Daniels ao vivo mas já ouvi Kate Royal como Pamina e gostei bastante do seu timbre e qualidade interpretativa.
Fotos excelentes. O palco esteve sempre assim durante toda a ópera, com o coro naquela armação circular?
Cumprimentos musicais.
@ Antonio,
ResponderEliminarObrigado pelo seu comentário. Chico Buarque é conhecido de todos os portugueses e muito apreciado por muitos.
@ wagner:fanatic,
O David Daniels é um excelente contra-tenor. Já o havia ouvido ao vivo na Gulbenkian mas numa ópera foi a primeira vez.
Quando o Orfeu desce aos infernos, o cenário muda completamente, rodando 180º e havendo uma "passagem" estreita entre as rochas, por onde passa e depois continua, acompanhado de euridice. Muito eficaz cenicamente.
No final, o palco voltou à posição inicial, que é a que consta das fotografias, tiradas já depois de a ópera ter terminado.
I only know this opera through the music of the ballet scene, which is transcripted for a piano piece.
ResponderEliminarKate Royal sings time to time in Frankfurt. But I haven't heard her yet.
I hope you can see the Lohengrin on Arte-TV today. It's first time for me to hear Klaus Florian Vogt as Lohengrin. People say he is the best Wagner tenor of our time.
I'm curious, because I've got a ticket for his concert in November hier in Frankfurt.
I'll try to post about Lohengrin, even though I don't like watching opera on TV that much.
@ lotus-eater,
ResponderEliminarI still do not know if I can see it. I also read that many people consider Klaus Florian Vogt the best Wagnerian tenor of the present. I need to see to believe it.
It I will not be able to hear him on TV tomorrow (I also do not like that much to see opera on TV, but when we do not have a better alternative...)at least I plan to see him in Paris soon in the leading role of "La Clemenza di Tito".
Love that Met!
ResponderEliminar