{"id":1829,"date":"2024-05-18T20:23:59","date_gmt":"2024-05-18T20:23:59","guid":{"rendered":"https:\/\/ventil.rs\/blog\/entertainment\/review-the-mets-orfeo-ed-euridice-makes-for-a-very-welcoming-underworld\/"},"modified":"2024-05-18T20:23:59","modified_gmt":"2024-05-18T20:23:59","slug":"review-the-mets-orfeo-ed-euridice-makes-for-a-very-welcoming-underworld","status":"publish","type":"post","link":"https:\/\/ventil.rs\/blog\/entertainment\/review-the-mets-orfeo-ed-euridice-makes-for-a-very-welcoming-underworld\/","title":{"rendered":"Review | The Met\u2019s \u2018Orfeo ed Euridice\u2019 makes for a very welcoming underworld"},"content":{"rendered":"


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NEW YORK \u2014 For a trip to hell and back, the Metropolitan Opera\u2019s season-closing revival of Christoph Willibald Gluck\u2019s \u201cOrfeo ed Eurydice\u201d is journey full of pleasures.<\/p>\n<\/div>\n

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The \u201cbeautiful simplicity\u201d that Gluck called his \u201cgreatest labor\u201d in setting the Orpheus myth (and the \u201cnoble simplicity\u201d that poet Ranieri de\u2019 Calzabigi similarly sought in his libretto) are carried through in every aspect of choreographer Mark Morris\u2019s resuscitated staging. And just as that 18th-century duo dispensed with the excesses of Baroque opera-seria, Morris\u2019s production \u2014 which premiered in 2007 \u2014 strips the myth into spare conceptualism with regularly scheduled wow moments. It\u2019s a crisp, clean, often amusing and thoroughly enchanting production \u2014 the kind of thoughtful, uncluttered opera of which we could use much more.<\/p>\n<\/div>\n<\/div>\n

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Gluck\u2019s 1762 interpretation pares the tale down to just a trio of voices and chorus, and this current cast works wonders: Countertenor Anthony Roth Costanzo<\/a> sings the noble Orfeo, soprano Ying Fang sings the recently deceased Eurydice and soprano Elena Villal\u00f3n makes her Met debut as the cheeky Cupid Amore.<\/p>\n<\/div>\n

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Costanzo, who is onstage and singing for the entirety of the opera\u2019s uninterrupted three acts, brought to Orfeo a beautiful balance of mythic transparency, heroic humanity and intriguing mystery \u2014 he\u2019s rendered here as a man in black with a guitar and silver spangled shoulders. (The countertenor David Daniels was the first man to sing the role at the Met for the premiere of the current production in 2007; subsequent revivals have cast mezzos like Stephanie Blythe and Jamie Barton.)<\/p>\n<\/div>\n

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His mourning effectively echoed \u201cthe voice of the wood dove\u201d through the first act, grieving with soft attack over the little black box of Euridice\u2019s grave. And while there was some shaky footing in Costanzo\u2019s introductory \u201cAh! se intorno a quest\u2019uma funesta,\u201d his voice swiftly sturdied, locking into a firm embrace with the orchestra. His song in the Elysian fields (\u201cChe puro ciel\u201d) was jewel-clear and soaring. And by the time we reached the demanding Act III aria \u2014 \u201cChe faro senza Eurydice?\u201d \u2014 his tone was bright and gleaming \u2014 his one or two faltered notes promptly forgiven by a long and long-delayed ovation.<\/p>\n<\/div>\n

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The rich, rounded voice of Chinese soprano Ying Fang made a lovely foil to the blade of Costanzo\u2019s countertenor \u2014 a lovely soft-hard timbral fit that formed the tight braid of their third-act duet (\u201cVieni, appaga il tuo consorte\u201d\/”Viens, suis un \u00e9poux\u201d). She\u2019s also a fine actress, with remarkable expressive range. I loved listening to her anguish between life and the \u201cpeaceful oblivion\u201d of death in the final act. (However unfairly, she makes a fair point: If Orf can\u2019t even look at her, why bother resurrecting?)<\/p>\n<\/div>\n

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Elena Villal\u00f3n was the surprise treat of the night as Amore, who descends from on high in a T-shirt, khakis, sneakers and a pair of store-bought wings. She brought a big, wide, golden voice and surplus charm to the proceedings, with a sensational \u201cGli sguardi trattieni Amor\u201d in Act I. Villal\u00f3n also lit up Act III\u2019s happy (and pleasantly hammy) ending.<\/p>\n<\/div>\n

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Costanzo\u2019s true counterpart in this love story is the chorus, which presides over the action from its station in the stands. Its 86 singers are a gallery of the dead: Among their ranks are kings, queens, nuns, nursemaids, Edwardian gentlemen, Victorian ladies, cowboys, baseball players. One could (and did) get very distracted scanning each for the suggestion of their stories. Vocally, I can\u2019t recall this chorus sounding better \u2014 achieving misty lightness in Act I, appropriate fury in Act II and celebratory exuberance at the finale. (If you managed to see \u201cOnly an Octave Apart<\/a>\u201d \u2014 Costanzo\u2019s 2022 cabaret with Justin Vivian Bond \u2014 the resounding interjections of \u201cNo!\u201d from the chorus in \u201cDeh placatevi con me\u201d will inspire a smile.)<\/p>\n<\/div>\n

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The pouncing strings of the overture didn\u2019t give so much as a glimpse of the music to come (Gluck pinned it on to satisfy the ceremonial demands of the Austrian emperor\u2019s name day), but did offer a forecast of conductor J. David Jackson\u2019s energetic evening from the podium.<\/p>\n<\/div>\n

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A last-minute replacement for Christian Curnyn (who fell ill), Jackson brought admirably sustained vigor to Gluck\u2019s score, moving things right along, attending the opera\u2019s many dances with bright, bristly playing and brisk forward momentum \u2014 much of it driven by the harpsichord of Jonathan C. Kelly and the glimmering harp of Hannah Cope (a sound that belies how much heavy lifting it does in the score). I loved the darting violins and flourishes of oboe and flute that introduced the Elysian fields; and the triumphant throwdown of the finale has been stuck in my head since I left the hall.<\/p>\n<\/div>\n

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The other star of this show is movement itself. Morris animates every inch of the opera \u2014 from the small gestures that cascade up the tiers of the chorus like leaves rising in an updraft to the whirling halo of dancers surrounding the grieving Orfeo. Bodies unfurl like banners, spin like tops, lock arms and cycle in circles. Gestures recur like musical themes: They sneak glances, they avert their gaze and cover their eyes, they crane their necks to the heavens, they sink to the floor.<\/p>\n<\/div>\n

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The staging, too, indulged a sense of movement that yielded several spectacles \u2014 a seemingly endless stairway to the underworld descending from the rafters; a carousel stage revealing the unexpectedly detailed crags and tunnels of Hades; the hand-pushing parting of the choral stands, its imposing geometry catching harsh light.<\/p>\n<\/div>\n

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Morris\u2019s is a production that leaves plenty of room for everything you love about opera and refrains from extraneous massage of the material. The result is an underworld worth a visit \u2014 or two.<\/p>\n<\/div>\n

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\u201cOrfeo ed Eurydice\u201d runs at the Metropolitan Opera through June 8, <\/i>www.metopera.org<\/i><\/a>.<\/i><\/p>\n<\/div>\n<\/div>\n


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NEW YORK \u2014 For a trip to hell and back, the Metropolitan Opera\u2019s season-closing revival of Christoph Willibald Gluck\u2019s \u201cOrfeo ed Eurydice\u201d is journey full of pleasures. The \u201cbeautiful simplicity\u201d that Gluck called his \u201cgreatest labor\u201d in setting the Orpheus myth (and the \u201cnoble simplicity\u201d that poet Ranieri de\u2019 Calzabigi similarly sought in his libretto)…<\/p>\n

Read More “Review | The Met\u2019s \u2018Orfeo ed Euridice\u2019 makes for a very welcoming underworld”<\/span> »<\/a><\/p>\n","protected":false},"author":1,"featured_media":1830,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.washingtonpost.com\/wp-apps\/imrs.php?src=https:\/\/arc-anglerfish-washpost-prod-washpost.s3.amazonaws.com\/public\/J3CKLQKPZBHY3BNRCJLCRIMSKQ_size-normalized.jpg&w=1440","fifu_image_alt":"","footnotes":""},"categories":[5],"tags":[],"class_list":["post-1829","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"\nReview | The Met\u2019s \u2018Orfeo ed Euridice\u2019 makes for a very welcoming underworld - Breaking News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ventil.rs\/blog\/entertainment\/review-the-mets-orfeo-ed-euridice-makes-for-a-very-welcoming-underworld\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Review | The Met\u2019s \u2018Orfeo ed Euridice\u2019 makes for a very welcoming underworld\" \/>\n<meta property=\"og:description\" content=\"NEW YORK \u2014 For a trip to hell and back, the Metropolitan Opera\u2019s season-closing revival of Christoph Willibald Gluck\u2019s \u201cOrfeo ed Eurydice\u201d is journey full of pleasures. 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