Name: Orfeo ed Euridice
Start: 2017-10-06T00:00:00.000Z
End: 2017-12-27T00:00:00.000Z
Location: Theater Erfurt

Organization

Singer

Countertenor

Julia Stein

Orfeo

Soprano

Margrethe Fredheim

Euridice

Nicole Enßle

Amor

Conductor

Zoi Tsokanou

Stage director

Ester Ambrosino

Set designer

Jeannine Cleemen

Moritz Weißkopf

Costume designer

Lighting designer

Torsten Bante

Choreographer

Theater Erfurt

Others

Opernchor des Theaters Erfurt

Orchestra

Philharmonisches Orchester Erfurt

италиански

Orfeo ed Euridice -  (Orpheus and Eurydice)

Erfurt

Germany

Studio

Orfeo ed Euridice Gluck

Public

Orpheus and Eurydice

немски

Approved

Orfeo ed Euridice (Orpheus und Erydike)Oper von Christoph Willibald Gluck Eine Kooperation mit dem Tanztheater Erfurt e. V.Premiere: 27. Februar 2016Musikali...

Orpheus mourns the death of Eurydice. Cupid announces to the mourner that he may lead Eurydice out of the underworld, but not look at her while doing so. Arriving in the realm of shadows, furies surround the approaching Orpheus. Undeterred, he makes his way to Elysium, where he meets Eurydice. Without looking at her, he takes her with him to bring her out into the open. Irritated by this behavior, Eurydice doubts his love. In dire need, Orpheus turns around - Eurydice dies again. Lost forever, his beloved, Orpheus is left alone in endless pain.

The history of the opera is inextricably linked to the legend of the singing Orpheus. In 1607, Claudio Monteverdi created an exemplary basis for the still young form of opera with his “Favola in musica” L'Orfeo.

In 1762, a good 150 years later, Gluck and his librettist Ranieri de' Calzabigi also referred to the Orpheus myth in order to subject the genre to thorough reform. Her efforts to bring opera back to the foundations of drama were to have an effect right through to Wagner's reflections on musical drama. In its striving for truthfulness, Gluck's music dispenses with virtuoso arias and prefers simple song forms. The chorus advances to become a central protagonist, and the dance also experiences a radical dramaturgical appreciation.

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