simulcasts, this time of the production of Christoph von Gluck's 1762
opera, Orfeo et Euridice. In many ways, this is a small opera by modern
standards, running about an hour and a half, and with only three
principal roles, so it was pleasing to see the Met take it on, since it
is most often done these days by student companies.
However, as the Met staged it, without act breaks , it is a testing
work: the opera itself is through-composed (meaning there are no
significant breaks in the music, and all the words are sung, as opposed
to recitative) and Orfeo is on and singing for nearly the entire piece.
Famed choreographer Mark Morris was the producer, and also gave the
ballet company a lot to do, they being on and dancing for most of the
The plot is the familiar story of Orpheus, who descends to the
Underworld to fetch back his bride, Euridice, who has untimely died from
a snakebite. He wins her freedom with his music, on the condition that
he not look at her until they have regained the upper world, and that he
not explain this to her. On the way up, he cannot resist her entreaties,
and looks back, at which point Euridice falls back into death. However,
Amor appears and re-raises Euridice, explaining that they both have
"suffered enough for my glory." This is a nicely arch bit showing the
cruel and arbitrary nature of the gods, but is swept away in a joyous
Highly regarded mezzo-soprano Stephanie Blythe filled the counter-tenor
role of Orfeo admirably, and sung faultlessly. The opera was done in
contemporary dress, which allowed the costumers to put her into a Johnny
Cash-like "man in black" outfit, augmented by thick dark side-swept hair
and guitar slung neck down across the back. Of course, Blythe does not
have Cash's cocaine-and-booze chiseled cragginess, but sings with
sufficient passion not to need it.
Coloratura Danielle Di Neise gave us the role of Euridice beautifully,
both in person and in voice, and during the "argument" of the Third Act,
matched Blythe for power and intensity. The third named role, that of
Amor, was sung by soprano Heidi Grant Murphy, who seemed to be enjoying
herself singing, as well as being lowered from the flies on cables to
make her entrance as "Amor", the god of love.
The chorus and the ballet are the only other "characters." The Opera
Chorus comments on the action in Greek style, ringing the stage as
though an audience. Each chorister had a different costume representing
the spirits of the past: I spotted everyone from Cleopatra and Joan of
Arc through Henry VII, Abraham Lincoln, Alexandre Dumas, Jimi Hendrix,
and an astronaut. (One shortcoming of the opera broadcasts, of course,
is that, while you get a magnificent view, you only get to see what the
video producer lets you see. It would have been great fun to scan my
opera glasses over the whole chorus and see how many I could
identify--.) The chorus did an admirable job, as did everyone associated
with the production.
The aforementioned hard-working ballet portrayed variously mourners,
vengeful spirits, happy spirits, and rejoicing villagers. It was
interesting to see how well Morris' extensive vocabulary of modern dance
movements could be applied to a score strongly influenced by the dance
music of the 18th Century.
Morris and Conductor James Levine were briefly interviewed as part of
the pre-show, and it was inspiring to see what enthusiasm and evident
pleasure both men took in presenting this piece, which is the oldest
opera still in the repertoire of major companies.
In our opinion, the HD simulcasts continue to be excellent value for the
money and we would recommend them for anyone interested in opera.
Upcoming shows include Lucia di Lammermoor, Feb. 7; Madama Butterfly,
Mar. 7; La Sonnambula, Mar. 21; La Cenerentola, May 9. Some local
theaters are having encore (recorded) showings on following weeknights.
More information available at
Also, for those in the area, Danielle Di Neise will be giving a recital
at the Wisconsin Union Theater in Madison on Thursday, Feb. 19th at 8PM.