Teatro Real 13 June 2023 - Orfeo ed Euridice (Opera in concert version) | GoComGo.com

Orfeo ed Euridice (Opera in concert version)

Teatro Real, Main Auditorium, Madrid, Spain
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7:30 PM

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If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Madrid, Spain
Starts at: 19:30
Acts: 3

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

Orfeo Ed Euridice by Gluck is one of the few opera titles of the 18th century which can presume to have never lost out on audience appreciation.

Besides the enduring fame of its most famous moment –"Che farò senza Euridice?" –, the work was sustained during the 19th century by some of the most glittering voices of the day such as the tenor Adolphe Nourrit –who debuted Eléazar of La juive and Raoul of Les Huguenots– or the contralto Pauline Viardot –who premiered Fidès of Le prophète–, or composer Hector Berlioz, who re-orchestrated the opera for its presentation at the Ópera de París.  Today -   a reminder isn’t necessary - the role of Orfeo is sung indistinctly by the most acclaimed mezzo-sopranos, tenors and countertenors.  

Over and above these aspects, this Orfeo stood out in its day for advanced orchestral language and a dramatic concept, far from established conventions, which had an effect on its compact and audacious score; and  that powerfully influenced the young Mozart.  The third Orfeo of this season comes to the Teatro Real in the hands of René Jacobs, an experienced explorer of the hidden treasure in the operatic staves of the Classic and Baroque periods.

History
Premiere of this production: 05 October 1762, Burgtheater in Vienna

Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.

Synopsis

The first lines of arias, choruses, etc., are given in Italian (1762 version) and French (1774 version).

Act 1

A chorus of nymphs and shepherds join Orfeo around the tomb of his wife Euridice in a solemn chorus of mourning; Orfeo is only able to utter Euridice's name (Chorus and Orfeo: "Ah, se intorno"/"Ah! Dans ce bois"). Orfeo sends the others away and sings of his grief in the aria "Chiamo il mio ben"/"Objet de mon amour", the three verses of which are preceded by expressive recitatives. This technique was extremely radical at the time and indeed proved overly so for those who came after Gluck: Mozart chose to retain the unity of the aria. 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 (1774 only: aria by Amour, "Si les doux accords"). As encouragement, Amore informs Orfeo that his present suffering shall be short-lived with the aria "Gli sguardi trattieni"/"Soumis au silence". Orfeo resolves to take on the quest. In the 1774 version only he delivers an ariette ("L'espoir renaît dans mon âme") in the older, showier, Italian style, originally composed for an occasional entertainment, Il Parnaso confuso (1765), and subsequently re-used in another one, Le feste d'Apollo (1769).

Act 2

In a rocky landscape, the Furies refuse to admit Orfeo to the Underworld, and sing of Cerberus, its canine guardian ("Chi mai dell’Erebo"/"Quel est l'audacieux"). When Orfeo, accompanied by his lyre (represented in the opera by a harp), begs for pity in the aria "Deh placatevi con me"/"Laissez-vous toucher", he is at first interrupted by cries of "No!"/"Non!" from the Furies, but they are eventually softened by the sweetness of his singing in the arias "Mille pene"/"Ah! La flamme" and "Men tiranne"/"La tendresse", and let him in ("Ah, quale incognito affetto"/"Quels chants doux"). In the 1774 version, the scene ends with the "Dance of the Furies" (No. 28).

The second scene opens in Elysium. The brief ballet of 1762 became the four-movement "Dance of the Blessed Spirits" (with a prominent part for solo flute) in 1774. This is followed (1774 only) by a solo which celebrates happiness in eternal bliss ("Cet asile"), sung by either an unnamed Spirit or Euridice, and repeated by the chorus. Orfeo arrives and marvels at the purity of the air in an arioso ("Che puro ciel"/"Quel nouveau ciel"). But he 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 (Chorus: "Torna, o bella"/"Près du tendre objet").

Act 3

On the way out of Hades, Euridice is delighted to be returning to earth, but Orfeo, remembering the condition related by Amore in act 1, lets go of her hand and refusing to look at her, does not explain anything to her. She does not understand his action and reproaches him, but he must suffer in silence (Duet: "Vieni, appaga il tuo consorte"/"Viens, suis un époux"). Euridice takes this to be a sign that he no longer loves her, and refuses to continue, concluding that death would be preferable. She sings of her grief at Orfeo's supposed infidelity in the aria "Che fiero momento"/"Fortune ennemie" (in 1774, there is a brief duet before the reprise). Unable to take any more, Orfeo turns and looks at Euridice; again, she dies. Orfeo sings of his grief in the famous aria "Che farò senza Euridice?"/"J’ai perdu mon Eurydice" ("What shall I do without Euridice?"/"I have lost my Euridice") Orfeo decides he will kill himself to join Euridice in Hades, but Amore returns to stop him (1774 only: Trio: "Tendre Amour"). In reward for Orfeo's continued love, Amore returns Euridice to life, and she and Orfeo are reunited. After a four-movement ballet, all sing in praise of Amore ("Trionfi Amore"). In the 1774 version, the chorus ("L’Amour triomphe") precedes the ballet, to which Gluck had added three extra movements.

Venue Info

Teatro Real - Madrid
Location   Isabel II Square, s / n.

Teatro Real is a major opera house located in Madrid. Today the Teatro Real opera is one of the great theaters of Europe hosting large productions involving leading international figures in opera singing, musical direction, stage direction, and dance. Founded in 1818 and inaugurated on 19 November 1850, it closed in 1925 and reopened in 1966. Beginning in 1988 it underwent major refurbishing and renovation works and finally reopened in 1997 with a capacity of 1,746 seats. The theater offers visitors guided tours in several languages, including the auditorium, stage, workshops, and rehearsal rooms.

Founded by King Ferdinand VII in 1818, and after thirty-two years of planning and construction, a Royal Order on 7 May 1850 decreed the immediate completion of the "Teatro de Oriente" and the building works were finished within five months. The Opera House, located just in front of the Palacio Real, the official residence of the Queen who ordered the construction of the theatre, Isabel II, was finally inaugurated on 19 November 1850, with Donizetti's La Favorite.

The Teatro soon became one of the most prestigious opera houses in Europe. For over five decades it hosted the most renowned singers and composers of the time. In the early period, it saw famous opera singers such as Alboni, Frezzolini, Marietta Gazzaniga, Rosina Penco, Giulia Grisi, Giorgio Ronconi, Italo Gardoni, Mario de Candia and Antonio Selva among many others. In 1863, Giuseppe Verdi visited the theatre for the Spanish premiere of his La Forza del Destino. At its peak, in the last quarter of the 19th century, the Teatro hosted world renowned artists such as Adela Borghi, Marie Sasse, Adelina Patti, Christina Nilsson, Luisa Tetrazzini, Mattia Battistini, Julián Gayarre, Angelo Masini, Francesco Tamagno and Enrico Tamberlick. In 1925, the Ballets Russes of Diaghilev performed in the theatre with the presence of Nijinsky and Stravinsky.

From 1867 to 1925 the Teatro Real also housed the Madrid Royal Conservatory. In December of 1925 a Royal Order ordered its activities to be discontinued owing to the damage that the construction of the Metro de Madrid had caused to the building. The government set out to restore it and ordered numerous projects to be drawn out for its renovation, such as that from architect Urdanpilleta Flórez, who proposed a monumental remodeling of the building. However, financial difficulties prevented the completion of these projects and led to a simple restoration, sponsored by the Juan March Institute, and carried out first by the architect Manuel Gonzalez Valcárcel, and later by architects Miguel Verdú Belmonte and Francisco Rodriguez Partearroyo.

The theatre reopened in 1966 as a concert hall as well as the main concert venue for the Spanish National Orchestra and the RTVE Symphony Orchestra. The reopening was celebrated with a concert of the Spanish National Orchestra conducted by Rafael Frühbeck de Burgos, and the Orfeón Donostiarra. In 1969, the 14th Eurovision Song Contest was held at the theatre, featuring an onstage metal sculpture created by surrealist Spanish artist Salvador Dalí.

Important Info
Type: Opera
City: Madrid, Spain
Starts at: 19:30
Acts: 3
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