L'Orfeo - Schedule, Program & Tickets
L'Orfeo
Favola in musica in a prologue and five acts (1607)
Music by Claudio Monteverdi
Libretto by Alessandro Striggio
Concert performance in Italian
Musical director Fabio Biondi
Orfeo Ian Bostridge
Euridice Monica Piccinini
Messaggera Marina de Liso
Caronte Aleksey Bogdanov
Proserpina, Ninfa Roberta Invernizzi
Plutone Fabrizio Beggi
Apollo Francesco Marsiglia
Pastori Valentino Buzza
Pastori Filippo Mineccia
Orchestra Europa Galante
Choir RIAS Chamber Choir
In the 16th century, the Florentine Camerata set out to bring the ancient Greek tragedy back to life. Since these humanistically educated nobles assumed that the dramas of antiquity had been sung at the performances, they dealt with the relationship between language and music. They preferred subjects in which singing seemed plausible, and no other figure applies this approach better than the singer Orpheus. In 1607, the Academia degli invaghiti in Mantua commissioned the composer Claudio Monteverdi, who was in the service of the princes of Mantua, to create a musical Orpheus drama. The poet Alessandro Striggio arranged the libretto for Monteverdi, which focused on Orpheus ’supplication to the gods of the underworld. Monteverdi found a progressive solution for the relationship between text and music that would shape the future of opera: He defined two levels of dramatic singing, on the one hand the recitative for general dialogue and on the other hand musically closed forms for those moments in which the music is the focus should stand. He succeeded in affectively reinforcing the text with musical means, and with this technique he provided the decisive initial spark for a genre that began with a mistake, because dialogues were spoken in ancient theater. The hero of the title is at the center of Monteverdi's Favola in musica. From the joys of perfect love happiness he plunges into utter despair over the death of his recently married Eurydice. Orpheus is not ready to accept this stroke of fate, but after causing the final loss of his wife himself, he remains in complete solitude. With the prologue and the end, Monteverdi shows how unreservedly he trusted music in the new theater genre. If the personified music itself appears at the beginning to announce Orpheus' deeds, at the end his father Apollo, god of music, intervenes in the action, and together they ascend singing into the sky, where Orpheus is the image of his Eurydice in the sun and see again in the stars.
Subject to changes.
Music by Claudio Monteverdi
Libretto by Alessandro Striggio
Concert performance in Italian
Musical director Fabio Biondi
Orfeo Ian Bostridge
Euridice Monica Piccinini
Messaggera Marina de Liso
Caronte Aleksey Bogdanov
Proserpina, Ninfa Roberta Invernizzi
Plutone Fabrizio Beggi
Apollo Francesco Marsiglia
Pastori Valentino Buzza
Pastori Filippo Mineccia
Orchestra Europa Galante
Choir RIAS Chamber Choir
In the 16th century, the Florentine Camerata set out to bring the ancient Greek tragedy back to life. Since these humanistically educated nobles assumed that the dramas of antiquity had been sung at the performances, they dealt with the relationship between language and music. They preferred subjects in which singing seemed plausible, and no other figure applies this approach better than the singer Orpheus. In 1607, the Academia degli invaghiti in Mantua commissioned the composer Claudio Monteverdi, who was in the service of the princes of Mantua, to create a musical Orpheus drama. The poet Alessandro Striggio arranged the libretto for Monteverdi, which focused on Orpheus ’supplication to the gods of the underworld. Monteverdi found a progressive solution for the relationship between text and music that would shape the future of opera: He defined two levels of dramatic singing, on the one hand the recitative for general dialogue and on the other hand musically closed forms for those moments in which the music is the focus should stand. He succeeded in affectively reinforcing the text with musical means, and with this technique he provided the decisive initial spark for a genre that began with a mistake, because dialogues were spoken in ancient theater. The hero of the title is at the center of Monteverdi's Favola in musica. From the joys of perfect love happiness he plunges into utter despair over the death of his recently married Eurydice. Orpheus is not ready to accept this stroke of fate, but after causing the final loss of his wife himself, he remains in complete solitude. With the prologue and the end, Monteverdi shows how unreservedly he trusted music in the new theater genre. If the personified music itself appears at the beginning to announce Orpheus' deeds, at the end his father Apollo, god of music, intervenes in the action, and together they ascend singing into the sky, where Orpheus is the image of his Eurydice in the sun and see again in the stars.
Subject to changes.
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