| Composer: | |
| Christoph Willibald Gluck (1714-1787) | |
| Librettist: | |
| Ranieri de’ Calzabigi (Italian version) | |
| Pierre Louis Moline based on Calzabigi (French version) |
First Performance:
| Italian Version | 5 October 1762, Burgtheater, Vienna |
| French Version | 2 August 1774, Paris OpÈra |
Principal Characters:
| Italian version | ||
|---|---|---|
| Orfeo | Alto Castrato | |
| Euridice, his wife | Soprano | |
| Amore | Soprano |
| French version | ||
|---|---|---|
| OrphÈe | Tenor | |
| Eurydice, his wife | Soprano | |
| Amour | Soprano |
Time and Place: Ancient Thrace
Synopsis:
Act I
A chorus of nymphs and shepherds accompany Orfeo around Euridice’s tomb in
a solemn chorus of mourning. Orfeo is only able to utter Euridice’s name.
Orfeo sends the others away and sings of his grief in the aria Chiamo il
mio ben cosi, the three verses of which are interrupted by expressive
recitatives. Amore (Cupid) appears telling Orfeo that he may go to the
Underworld and return with his wife on the condition that he not look at her
until they are back on earth. Orfeo resolves to take on the quest (in the
1774 version, both Amore and Orfeo have extra songs).
Act II
In a rocky landscape, the Furies refuse to admit Orfeo to the Underworld,
and sing of Cerberus, canine guardian of the Underworld. When Orfeo,
accompanied by his lyre (represented in the opera by a harp), begs for pity
in the aria Deh placatevi con me, he is at first interrupted by
cries of “No!” from the Furies, but they are eventually softened by the
sweetness of his singing and let him in. In the 1774 version, the scene ends
with the Dance of the Furies.
The new scene opens in Elysium. The 1774 version includes here the
much-excerpted Dance of the Blessed Spirits (Reigen der seligen
Geister) in which a chorus sings of their happiness in eternal bliss. Orfeo
finds no solace in the beauty of the surroundings, for Euridice is not yet
with him. He implores the spirits to bring her to him, which they do.
Act III
On the way out of Hades, Euridice is delighted to be returning to earth,
but Orfeo, remembering the condition related by Amore in Act I, lets go of
her hand and refuses to look at her. Euridice takes this to be a sign that he
no longer loves her, and refuses to continue, concluding that death would be
preferable. Unable to take any more, Orfeo turns and looks and Euridice; she
dies. Orfeo sings of his grief in the famous aria Che farÚ senza
Euridice?
Orfeo decides he will kill himself to join Euridice in Hades, but Amore
returns to stop him. In reward for Orfeo’s continued love, Amore returns
Euridice to life, and she and Orfeo are reunited. All sing in praise of Amore
(in the 1774 version, this finale is greatly expanded, including a
ballet).
Click
here for complete libretto (Italian version).
image=http://www.operatoday.com/content/Orphee_et_Eurydice.jpg
image_description=OrphÈe et Eurydice from Relief d’HermËs (MusÈe du Louvre)
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first_audio_name=Christoph Willibald Gluck: Orfeo ed Euridice
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first_audio_link=http://www.operatoday.com/Orfeo.wax
second_audio_name=Christoph Willibald Gluck: Orfeo ed Euridice
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second_audio_link=http://www.operatoday.com/Orfeo.m3u
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product_title=Christoph Willibald Gluck: Orfeo ed Euridice
product_by=Margarete Klose (Orfeo), Erna Berger (Euridice), Rita Streich (Amore), Chor & Orchester Der St‰dtischen Oper Berlin, Artur Rother (cond.)
Live recording, 1952, Berlin