NEW YORK — For a trip to hell and back, the Metropolitan Opera’s season-closing revival of Christoph Willibald Gluck’s “Orfeo ed Euridice” is journey full of pleasures. The “beautiful ...

“Orpheus is a singer; he rescued Eurydice with the power of song.” When Claudio Monteverdi presented L’Orfeo in 1607, he began Italian opera. During Possente Spirto, his version of Orpheus ...

Amour the messenger of the gods tells Orpheus that he may descend to the underworld and return with Eurydice His singing has the power to appease the Furies and animate the blessed Shadows Yet his ...

the quintessential archetype of the poet, embarking on a journey that will lead him into the depths of the underworld, in a desperate attempt to bring his deceased wife Eurydice back to life ...

Eurydice, a country girl, has run away from home to avoid a man who arrived at her her looking for her. She is convinced that he was going to kill her. She arrives in Rio to stay with her cousin ...

Instead in Orfeo ed Euridice (1762) he advocates a simplified vocal style with recitative accompanied by orchestra, and he eventually revises the castrati role of Orfeo for tenor. The French ...

Orfeo ed Euridice, the opera in which Orpheus placates the Furies with his lyre to rescue his beloved, exists on many recordings in at least two versions. In Gluck ...

Opera on 3 Gluck's Orfeo ed Euridice From the Theatre Royal in Glasgow, a performance of Gluck's opera Orfeo ed Euridice with set designs by Johan Engels From the Theatre Royal in Glasgow, a ...