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Orfeo ed Euridice

Christoph Willibald Gluck

All the power and pain of songs on the theme of love brought to life by Jakub Józef Orliński’s Orfeo and Regula Mühlemann’s Eurydice

Orphée et Eurydice
Orphée et Eurydice © Vincent Pontet
Orphée et Eurydice
Orphée et Eurydice © Vincent Pontet
Orphée et Eurydice
Orphée et Eurydice © Vincent Pontet
Orphée et Eurydice
Orphée et Eurydice © Vincent Pontet

Cast

Thomas Hengelbrock | direction
Robert Carsen | staging
Christophe Gayral | staging resumption
Tobias Hoheisel | scenography and costumes
Robert Carsen, Peter Van Praet | lights
Matthieu Pouly | lights resumption

Jakub Józef Orliński | Orfeo
Regula Mühlemann | Euridice
Elena Galitskaya | Amore

Orchestre Balthasar Neumann
Chœur Balthasar Neumann

Sung in Italian with French and English subtitles

To read

When Gluck returned to the theme of the story of Orfeo more than a century and a half after Monteverdi, he was also renewing the conventions of opera of the day. He placed the emphasis on the plot, its power, cohesion and richness, which he believed should be in perfect harmony with the music. This approach produced an innovative work which radiates luminous beauty with the richness of its choruses in particular, while “reforming” the conventions of the past. Canadian director Robert Carsen has staged the work without referring to any specific timeframe and places music and singing centre stage. Although the theme is taken from one of the most beautiful myths, the focus of the plot is on the couple Orfeo and Euridice through their arias, which require unerring sensitivity and virtuosity. After several rapturously received recitals here, countertenor Jakub Józef Orliński is making his debut on the Paris opera stage opposite the youthful Regula Mühlemann with her diamond-sharp delivery. This young, musically bold duo will sparkle under the expert baton of Thomas Hengelbrock at the head of the Orchestra et Chor Balthasar Neumann. The two lovers will experience an impressive and painful descent into the Underworld, from which even love, embodied by Elena Galitskaya, the mischievous Pauline in the recent Vie parisienne, will not be able to save them. A fully array of songs on the theme of love condensed into one of Gluck’s most emotionally powerful works.

Coproduction Théâtre des Champs-Elysées | Canadian Opera Company | Fondazione Teatro dell’Opera di Roma | Château de Versailles Spectacles | Lyric Opera of Chicago

Avec le soutien de Madame Aline Foriel-Destezet, mécène principale des opéras mis en scène au Théâtre des Champs-Elysées

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