Orpheus versus Orpheus

GIUSEPPE PENNISI enjoys
'Orfeo e Euridice' at the Maggio Musicale Fiorentino,
and surveys the different versions of Gluck's opera

Orfeo e Euridice is the first of Christoph W Gluck's three 'reform' operas in which all the elements (music, singing, ballet) of musical theatre were fully integrated. The 'noble simplicity' in the action and the music was intended to replace the complicated plot and the florid and flowery musical style of Italian opera seria and of French tragédie lyrique. As compared to Alceste and Paride ed Elena — the other two operas of Gluck's 'revolution', Orfeo e Euridice requires a small orchestral ensemble, three singers, a chorus and only a few dancers. Hence, it is comparatively easy, and not very costly, to stage. Thus, as this year is the third centenary of the composer's birth, there are many productions of the opera.

The issue is which version to chose. There are two main versions: a 1762 Orfeo e Euridice which had its debut in Vienna and has a libretto in Italian by the well known poet Ranieri de' Calzabigi; and a 1774 Orphée et Eurydice, in French, adapted by the composer and by the young French poet Pierre-Louis Moline, to better suit the Parisian taste, albeit keeping the fundamentals of the 'reform'. To make things more complicated, in the nineteenth century, Orphée et Eurydice was the only often-performed seventeenth century opera. This was not the 1774 version but a new edition for large orchestra, adapted by Hector Berlioz. Finally, when Ricordi published the 'definitive' version in 1889, the product was an interpolation of Berlioz's work with Gluck's 1762 and 1774 versions and the addition of arias from yet other operas of the Bohemian composer. A real mess! Only recently were critical editions produced. Yet the Gluck-Berlioz Orphée et Eurydice was staged in Marseilles a few months ago in a production which will soon reach Palermo. In practice, the French 1774 version of the Gluck-Berlioz product are performed in theatres more often than the original 1762 version — which is, however, very frequently presented in concert versions. The later Orphée et Eurydice is somewhat longer than Orfeo e Euridice (only eighty minutes); consequently, rightly or wrongly, it is deemed more appropriate to fill an evening.

As a part of the Maggio Musicale Fiorentino festival, the original Orfeo e Euridice was staged in the three-hundred-and-fifty year old Teatro La Pergola; after being remodeled several times, the theatre now has nearly nine hundred seats and is better suited than 1,800 seat Teatro Comunale for operas requiring smaller forces. As in 1762, the three acts were performed without intermission, which made the production both simple and rigorous. I saw and heard the production on its opening night, 8 June 2014.

The basic concept of Denis Krief (stage director but also responsible for sets, costumes and lighting) is that Orfeo e Euridice is a universal and very actual tale of conjugal love and total mutual trust. Both the poet and his wife love each other but do not reach total mutual trust. Thus, they are punished. But their sorrow (especially his sorrow) is so deep and so sincere that all the populace is asking for mercy. Thus, Almighty obliges: there is a happy ending — the conclusion is not entirely happy in the 1774 French version. Very careful acting by the three singers provides for considerable emotion.

The stage set is a series of panels with projections (by Nicola Calocero); the only prop is an eighteenth century sofa. We feel that we are in modern times not solely because of the elegant and essential attire of the two young protagonists but because the afterworld is presented as a discotheque with dancing crowd, reached through a highway tunnel. Finally, also the ballet is choreographed (by Cristina Rizzo) in a modern way, albeit on an eighteenth century score. The small ensemble has a few period instruments (harpsichord, baroque harp), and the conductor, Federico Maria Sardelli, is a specialist in this repertory.

The final scene of 'Orfeo e Euridice' at Maggio Musicale Fiorentino, with, seated, left to right, Anna Bonitatibus as Orfeo, Silvia Frigato as the God Love and Hélène Guilmette as Euridice, with, behind, the chorus, during their only appearance in eighteenth century attire. Photo © 2014 Simone Donati. Click on the image for higher resolution

The protagonist is alto Anna Bonitatibus — the role was originally written for a castrato. She is simply superb from her first aria Chiamo il mio ben così to her long lamentation Che faro senza Euridice through the duet with Euridice, Vieni appaga il tuo consorte. The spouse is the French soprano Hélène Guilmette, singing to a high standard albeit some flaws in her aria Che fiero momento. The god Love is Silvia Frigato, in boy's attire. The quite effective Maggio Musicale Chorus is 'the people', ie friends of the couple and general populace witnessing their story. Six dancers complete the company.

The audience applauded warmly, even though comments in the foyer seem to suggest that some would have preferred a more traditional staging. In my opinion, this production provided evidence that Orfeo e Euridice is far superior to Orphée et Eurydice and all later mismatches, and that opera managers should compete for Denis Krief's elegant yet inexpensive productions.