Exercise: The Classical Opera

Programme Notes – Orfeo ed Euridice

Orfeo ed Euridice was originally performed at Vienna’s Burgtheater on 5^th October 1762, for a celebration relating to Emperor Francis I.  Composed by Christoph Willibald Gluck, the opera portrays the mythological tales of the Greek legend Orpheus, and includes two other major characters accompanied by a large chorus.   The original performance featured Gaetano Guadagni as Opheus, with Marianna Bianchi and Lucia Claverau playing Amore and Euridice respectively. The libretto was originally written by Ranieri de’Calzabigi in Italian, before being later translated into French by Pierre Louis Moline.

With 18^th Century audiences tiring of predictable da capo form dominating the operatic stage, Orfeo ed Euridice is considered to be a ‘reform opera’ as it is notable for breaking away from da capo aria form and larger choruses, to make was for strophic form, virtuoso cadenzas and shorter passages, creating a larger picture when blended.   This was in an effort to adopt a more simplistic and classical style in both the opera and the music.

Gluck later revised his original manuscripts in 1774 for the Paris Opera.  Performed on 2^nd August 1774, the format had been noticeably changed to fit with the French market with Orpheus’ character changing from a revolutionary to a more conservative Orphee.  This also included the transposition of Orfeo’s original high-pitch alto-castrato part, to a more fashionable hautre-contre (high tenor), and the addition of material newly composed and ‘borrowed’ from Gluck’s earlier works.   In the 19^th Century Hector Berlioz adapted the score once again, this time to include a female lead of Orphee, scored for a more accessible mezzo-soprano voice. 

Initially composed as a bright, colourful performance, Gluck uses a large orchestra featuring the cornet, horns and the chalumeau (early clarinet), to create a rich, textural composition that acts as another means of narrative.  The aria ‘Che puro ciel’, in which Orfeo sees the divine glow of the underworld, the flute and cello provide solo performances, underpinned by the oboe, accompanied by the entire orchestra emulating a transcendent ‘halo-like’ hum. 

The harp is another major instrument in the composition as it plays the role of Orfeo’s own instrument, which he uses to tame demons from the underworld.  The orchestration changed remarkably in Gluck’s second revision with the addition of new material and the decreased trombone role, with the replacement of the cornets and chalumeau by the oboe and clarinet.  

Act 1 begins at Euridice’s graveside, where Orfeo mourn the loss of his wife.  Shepard and nymphs join him in a chorus before he sends them away to perform his innovative aria ‘Chiamo il mio ben cosi’, which comprises a structure of verse and expressive recitative.  The Cupid character, Amore then appears telling Orfeo that he may save his wife from the underworld on the condition that he does not look at her face until they return home.  Amore offers the aria ‘Gli sguardi trattieni’, telling Orfeo of the happiness he will feel upon her return, before Orfeo accepts the quest. 

At the edge of the underworld the furies do not allow Orfeo entry and threaten him with the canine demon Cerberus singing ‘Chi Mai dell’Erebo’.   Orfeo then sings an aria begging the fates for mercy, which they initially refuse.  Charmed by Orfeo’s arias, the furies eventually allow Orfeo access and the scene closes with ‘Ah, quale incognito affetto’.

The second scene opens with a ballet ‘Dance of the Blessed Spirits’. Orfeo soon enters and is unhappy that he is not yet reacquainted with his lost love Euridice with the aria ”Che puro ciel”.   He then begs the god to bring Euridice to him with the chorus of ‘Torna, o bella’.

The final act begins with the duet between Orfeo and Euridice as they leave the underworld.  Keeping his bargain with Cupid, Orfeo doesn’t look at Euridice’s face, which leads to her confront him in the second duet “Vieni, appaga il tuo consorte”.  Taking this as a sign that Orfeo no longer loves her, Euridice sings of her woe in the aria ‘Che fiero momento’, telling her lover she would rather die than return to Earth without his love.  Orfeo then accidentally glances at his wife, causing her to die instantly.  The famous aria ‘Che fari senza Euridice?’ follows as Orfeo grieves for his love. 

The closing scenes see amore (Cupid) return to stop Orfeo killing himself and rewards Orfeo’s undying love by resurrecting Euridice.  The opera closes with a chorus ‘Trionfi Amore’ celebrating the pair’s reunion.  

Exercise: Orfeo ed Euridice (1752) – Critical Review

Recording of Glyndebourne festival Opera production of ‘Orfeo ed Euridice’

 (1982) – video found on YouTube

Based on Gluck’s original version of 1762 version of Orfeo ed Euridice, this Italian production, conducted by London Philharmonic conductor Raymond Leppard, provides a good representation of Gluck and Calzabigi’s original score.  Janet Baker’s portrayal of Orfeo provides a powerful vocal performance, but at times lacks emotional clarity.

Act 1 begins with a great choral performance, which accurately depicts the grief, anguish and sadness of the scenario.  Orfeo’s vocal line carries a wonderful harmonic element to the piece, but the aria ‘Chiamo il Mio ben cosi’, which followed later, lacked the emotional depth one might expect from an aria telling the woes of a mourning husband. 

Elizabeth Gale’s performance as Amore provides an angelic and peaceful air, almost merging with the harmonic tones of the orchestra to provide a transcendent effect.  The role of Amore, played by Elisabeth Speiser, adds a rich dramatic texture to the piece, which is well demonstrated in Orfeo and Euridice’s duet ‘Che fiero momento’. 

The choreography throughout the piece balances well with the orchestra and actors.  At different points, the ensemble demonstrates grace and elegance, which is later contrasted with anger and tension.   The choreography is particularly well demonstrated in “Gli sguardi trattieni”

Based on Gluck’s earlier revisions of the score, the orchestra provides an excellent backdrop to the performance, elevating the emotional depth of the actor’s performance.  Particular credit should be given to the wind section, which at times, seems to act as a narrator to the storyline.  

Overall, this performance of Orfeo and Euridicies provides a good representation of the score and libretto set by Gluck and Calzabigi.  The three main characters deliver a range of power and emotion throughout, enhanced by the large chorus.