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Monteverdi's Orfeo - Early Music Vancouver. Sunday October 2. PM (Pre- concert talk at 2: 1.
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Chan Shun Concert Hall at the Chan Centre for the Performing Arts Map. Subscriptions. Stephen Stubbs, music director; Pacific Music. Works; Dark Horse Consort; Colin Balzer, Orfeo. Monteverdi’s Orfeo is the first unqualified masterpiece of operatic history.
Full of dramatic word painting, narrative urgency, rich orchestration of exotic instruments as well as exquisite writing for vocal ensemble, it feels as fresh and full of relevance as it must have in the early 1. Monteverdi specialist and GRAMMY winner Stephen Stubbs leads his own ensemble, Pacific Music. Works, in a concert version featuring Vancouver’s Colin Balzer in the title role.‘The man is a genius. Oh, I meant Stubbs. But Monteverdi, too, was no slouch.’ – The Seattle Times. Supported by the Drance Family in honour of Stephen and Betty Drance and José Verstappen.
Synopsis. After the opening Toccata, the Prologue presents La Musica, who greets the noble audience, praises the power of Music, and invites the onlookers to listen to the story of Orfeo. ACT INymphs and shepherds sing joyously in anticipation of the marriage of Orfeo and Euridice, and the couple sing of their love for each other. After dances of celebration, Euridice and Sylvia leave the company to prepare for the ceremony, while the nymphs and shepherds continue their festivities. ACT IIOrfeo sings with his friends of his new found joy, and praises the natural beauty of the Arcadian surroundings in which he has found Euridice. Silvia breaks into their rejoicing to tell the terrible news of Euridice’s death after being bitten by a serpent.
Devastated by her account, Orfeo vows to descend to Hades to reclaim Euridice, or to join her in death. As he departs, the company laments their grief at the loss of both the lovers. ACT IIIOrfeo is led by the allegorical figure of Hope to the banks of the river Styx, across which lies the Underworld, but then he must continue alone. Caronte, the guardian boatman, appears in front of him and blocks his path.
Orfeo invokes all the power of his singing to convince Caronte to let him enter the Underworld, but the boatman is unmoved. Finally the singing lulls the guardian to sleep. Seizing his opportunity, Orfeo steals the boat and rows across the river. A chorus of infernal spirits marks his entrance into Hades and praises his audacity. ACT IVIn the Underworld, Proserpina, wife of the ruler Plutone, has been moved by the prayers and laments of Orfeo as he roams in search of his lost love, and pleads with her husband to restore Euridice to him. Her husband, touched by her tender entreaties, decrees that Orfeo may lead Euridice home, but must not look at her while still in the Underworld or she will be lost for all eternity. Orfeo appears leading Euridice, and sings praises to the power of his lyre that has led to her redemption, but gradually, doubts creep into his mind that he is being tricked, and he glances back; infernal spirits immediately pronounce the sentence and Euridice, in despair, is lost forever. Lego: The Adventures Of Clutch Powers Full Movie In English on this page.
An infernal chorus proclaims that Orfeo could conquer Hell but not himself. ACT VReturning alone to the scene of his former joy, Orfeo laments his loss to Eco. He recalls the virtues of Euridice and vows never to love another woman. His father, Apollo, God of Music, descends and comforts Orfeo, and offers to lead him to eternal life and glory in Heaven, where he may see the likeness of Euridice in the sun and stars.
As Orfeo and Apollo rise to Heaven singing, the chorus proclaims Orfeo’s celestial honour and declare that virtue will be justly rewarded, and a festive Moresca ends the fable. Programme Notes. Written by Thomas Forrest Kelly for a performance of L’Orfeo by the Boston Early Music Festival in 2. Tomorrow evening the Most Serene Lord the Prince is to sponsor a play in the main room in the apartments which the Most Serene Lady of Ferrara had the use of.
It should be most unusual, since all the actors are to sing their parts; it is said on all sides that it will be a great success. No doubt I shall be driven to attend out of sheer curiosity, unless I am prevented from getting in by the lack of space. Carlo Magno’s 1. 60. Monteverdi’s L’Orfeo in the same way as its original audience did. For us, Orfeo stands at the head of the long history of opera; it is in a tradition that includes Handel, Steffani, Lully, Mattheson, Mozart, Verdi, Wagner, and Strauss. And in that context it stands up for itself very well indeed; it is full of beautiful music, it requires passionate, lyrical, and florid singing, and it can make us weep with the best of them. And yet it’s not an opera at all.
There was no such thing in 1. It’s a play; and for its creators it’s an attempt to re- create the power of classical Greek tragedy. Orfeo tells a Classical tale, and in a time in which Classical literature was being rediscovered and newly valued, scholars and intellectuals wanted to know what it was that gave such affective power to Classical theater.
Part of the effect, they surmised, was that Classical Greek actors sang their parts, to the accompaniment of the ancient kithara, a plucked string instrument. So if we have our actors sing, and accompany them on, say a souped- up version of the chitarra (as we’d say in Italian), a big one, a chitarrone, we might well hope to achieve the effect that Greek tragedy had on its own audiences. So Orfeo at its origin was an “early- music” performance, an attempt to recapture the sounds and the effects of the distant past, just as is the present performance by Pacific Music.
Works. We are evoking a performance of 4. As spectators, we would be expecting a play. But the novelty about this play is that, as Carlo Magno says, all the actors sing their parts. We have a word for plays in which everybody sings—we call it opera; but that didn’t really exist. What a novelty it must have seemed! The singing was something added to a poetic libretto full of charm and literary delight, telling a story that we already know, but in newly- created elevated language.
Monteverdi’s job is to figure out how to make that singing contribute to the depth, the expressiveness, the power of the drama. And he is the perfect person for the job, in the perfect place to accomplish it. First off, Monteverdi adopts the new stile recitativo, the reciting style, employed by some musical experimenters down in Florence in the last few years. This is a means of delivering words in spoken rhythm, at about the speed an actor would speak them, but with a melodic line and a simple chordal accompaniment; it was a Florentine invention, but Monteverdi turned it to spectacularly effective use, here and elsewhere. There’s a risk that we will find recitative tedious—especially if we expect Mozart arias or Verdi heroines.
But in the context of a play, it’s a magical addition, and Monteverdi is able to inflect it with amazing variety and skill, using harmony, dissonance, melody, rhythm—to make it always new and interesting. Another way to avoid tedium is to have songs. And there are lots of songs, and dances, and instrumental pieces, in the course of Orfeo. The story is laid out to make this possible.* * *What better subject for a fable told in music than the story of Orpheus? He is, after all, the semi- god who is the greatest musician who ever lived, the son of Apollo, god of the sun, of music, of balance; a story about Orpheus will give plenty of occasion for music and singing. It is set in that mythical Arcadia where nymphs and shepherds frolic, sing, dance, without any concern for keeping watch over their flocks .
So there is plenty of occasion for song as well as speech, and this presents Monteverdi with a challenge and an opportunity. Because if this is a play in which the actors sing their parts, we are to understand that what is happening on stage is the way things work: when people sing in that world, they are speaking. Fine: and if we like it, we stay.