Name: Orfeo ed Euridice
Start: 2018-10-12T00:00:00.000Z
End: 2018-10-24T00:00:00.000Z
Location: Opéra-Comique

Admin

Organization

Cantante

Contratenor

Marianne Crebassa

Orfeo

Soprano

Hélène Guilmette

Eurídice

Léa Desandre

Amor

Director(a) orquestal

Raphaël Pichon

Director(a) de escena

Aurélien Bory

Escenógrafo(a)

Pierre Dequivre

Diseñador(a) de vestuario/Figurinista

Manuela Agnesini

Diseñador(a) de iluminación

Arno Veyrat

Others

Choeur Pygmalion

Ensemble Pygmalion

Opéra Comique

Orfeo ed Euridice -  (Orfeo y Euridice)

París

Francia

Opéra-Comique

Salle Bizet

Orphée et Eurydice (ed. Berlioz) by C. W. Gluck, from Opéra Comique, 2018. Directed by Aurélien Bory, conductor Raphaël Pichon, starring Marianne Crebassa,Lea Desandre,Hélène Guilmette,Charlotte Siepiora,Margherita Mischitelli,Claire Carpentier,Élodie Chan,Tommy Entresangle,Yannis François. Performed in French and subtitled in English, French, Korean and Chinese

Amour, the messenger of the gods, tells Orpheus that he may descend to the underworld and return with Eurydice. His singing has the power to appease the Furies and animate the blessed Shadows. Yet, his voice cannot reassure Eurydice who despairs of the feigned indifference of Orpheus, put to the test by Jupiter. Orphée et Eurydice shook up Europe of Enlightenment. Berlioz, a worshipper of Gluck, achieved a synthesis of the Italian and original French versions for Pauline Viardot whose voice could revive the vanished art of castrati for the romantic public. The beauty of the work owes as much to the intensity of the exchanges as to the power of the orchestra and the spectacular implication of the choir. Raphaël Pichon conducts the opera of operas and Aurélien Bory displays the giddiness of the mental and supernatural spaces travelled by Orpheus and beyond. Marianne Crebassa plays a title role with Hélène Guilmette and Lea Desandre.

Amour (Cupid), messenger of the gods, announces to Orpheus that he will be permitted to descend to the Underworld to rescue his beloved, Eurydice. His music brings light to the shadows and pacifies the Furies, but it cannot soothe the fears of Eurydice when faced with the indifference Orpheus must feign in order to assure her safe passage back to the land of the living... This four-act opera, based on a libretto by Pierre-Louis Moline, premiered on November 19, 1859, at the Théâtre Lyrique in Paris; Berlioz, a great admirer of Gluck, borrowed from the original French and popular Italian settings of Gluck's masterpiece and synthesized this version for legendary mezzo-soprano Pauline Viardot, whose voice harkened back to the bygone era of the castrati who had sung the title role in Gluck's day.

The work's beauty owes as much to the intensity of the arias as to the eloquence of the orchestra and the spectacular contributions by the chorus, masterfully directed here by Raphaël Pichon. Stage director Aurélien Bory makes great use of the symbolic motif of the gaze, like that cast by Orpheus on Eurydice, whom he is doomed to lose. In the first act, a huge mirror makes the audience conscious of their own spectatorship, and in the Underworld, the set undergoes a change in perspective that reflects the cruel twist of fate to which the hero will fall victim. Following her widely lauded turn in Fantasio, Marianna Crebassa stuns in the title role here, marvelously supported by Hélène Guilmette as Eurydice and Lea Desandre as Amour.

Orfeo ed Euridice Gluck

Orfeo y Euridice

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