L’Orfeo

The Story of L’Orfeo

The tale of Orpheus and Eurydice served as the subject for three early operas, composed within a short period of each other: Jacopo Peri’s Euridice (1600), Giulio Caccini’s opera of the same name from the same year, and Monteverdi’s L’Orfeo (1607), with a libretto by Alessandro Striggio. It took a genius like Monteverdi to forge all the elements of this new genre—dance, poetry, instrumental music, the madrigal, and solo singing—into a unified dramatic whole. His favola in musica is therefore regarded as the true beginning of opera history.

Prologue

Following an introductory toccata, the personification of Music appears. She sings of the powers she possesses and announces the tale of the Thracian singer and demigod Orpheus, who could move both man and nature with his voice and even ventured into the underworld.

Act One

Orpheus and Eurydice celebrate their wedding in the company of shepherds and nymphs.

Act Two

While Eurydice and her companions set off to weave garlands of flowers, Orpheus rejoices in his happiness among the shepherds. Their joyful gathering is suddenly interrupted by a messenger who brings the devastating news: Eurydice has died after being bitten by a snake. Overcome with grief, Orpheus resolves to descend into the underworld and bring her back.

Act Three

Hope guides Orpheus to the river Styx, but then leaves him, for here the decree is clear: Abandon all hope, ye who enter here. Despite his moving song, Charon, the ferryman of the underworld, refuses to carry the still-living Orpheus across the river. However, when Charon falls asleep, Orpheus seizes the opportunity and rows himself to the other side.

Act Four

Moved by Orpheus’ song, Proserpina, goddess of the underworld, pleads with her husband Pluto to release Eurydice. He consents, but under one condition: Orpheus must not look back at Eurydice until they have fully returned to the world of the living. Full of hope, Orpheus begins the journey back, but at the last moment, he turns to check if Eurydice is following. She vanishes before his eyes. The spirits of the underworld lament Orpheus’ inability to resist his own desire.

Act Five

Orpheus wanders alone, mourning his loss. His sorrowful cries echo in the distance. At last, his father Apollo descends to help him, taking him up to the heavens. He promises his son that there, among the stars, he will once more see Eurydice.

Artistic Team

Musical direction Hernán Schvartzman (OPERA2DAY)
Concept Monique Wagemakers, Lonneke Gordijn (Studio DRIFT) and Nanine Linning
Stage direction Monique Wagemakers
Scenography and installation Lonneke Gorijn (Studio DRIFT)
Choreography Nanine Linning
Costume design Marlou Breuls
Lighting design Thomas Hase

Cast

La Musica/Silvia Luciana Mancini
Orfeo Samuel Boden
Euridice/Speranza/Eco Kristen Witmer
Pastore/Spirito Nils Wanderer
Pastore/Spirito Kevin Skelton
Spirito Damien Pass
Caronte/Spirito Alex Rosen
Plutone/Pastore/Spirito Yannis François
Proserpina Luciana Mancini
Apollo/Pastore/Spirito Laurence Kilsby
La Ninfa Lucía Martín-Cartón

Stunning in every respect

L’Orfeo received raving reviews. Below are some excerpts, focusing on the musical contribution and the role of musical director Hernán Schvartzman (OPERA2DAY) and the Baroque ensemble La Sfera Armoniosa, which he assembled.

De Theaterkrant nicely captures the tone of the reviews: “Under the direction of Monique Wagemakers, Monteverdi’s 1607 opera becomes a ‘total artwork’ […] It’s as if the orchestra in the pit and the dancing canvas Ego high above the stage form one breathing entity – magnificent.” NRC wrote: “Conductor Hernán Schvartzman leads La Sfera Armoniosa with a sense of subtlety. […] This musical approach beautifully complements the theatrical one.” De Volkskrant commented: “The velvety sound of La Sfera Armoniosa, under the direction of Hernán Schvartzman, colors the entire opera beautifully.” Dagblad Trouw stated: “There is superb singing, dancing, and music-making. In the pit, the 40-member La Sfera Armoniosa, led by Hernán Schvartzman, provides the ultimate accompaniment.” Opus Klassiek wrote: “A perfect collaboration among all involved.” Cultuurpers noted: “This magnificent production deserves to go on an international tour.”

The international site Bachtrack was lyrical: “The instrumentalists of La Sfera Armoniosa added magic from the pit, displaying a wide array of colours. […] Period strings emitted a warm glow, clarions and cornetts snorted audaciously, theorbos throbbed under the precise baton of Hernán Schvartzman.” Likewise, Arts Talk Magazine wrote: “The orchestra pit was a veritable cabinet de curiosités full of magic and wondrous instruments including antique brass trumpets and trombones, four ancient keyboards including organs, violas da gamba and three citterns which hovered like hungry cranes (the bird) waiting to swoop onto the choice notes as they swam past.”