Orfeo ed Euridice

Orfeo Ed Euridice by Gluck is one of the few opera titles of the 18th century which can presume to have never lost out on audience appreciation. Besides the enduring fame of its most famous moment –«Che farò senza Euridice?» –, the work was sustained during the 19th century by some of the most glittering voices of the day such as the tenor Adolphe Nourrit –who debuted Eléazar of La juive and Raoul of Les Huguenots– or the contralto Pauline Viardot –who premiered Fidès of Le prophète–, or composer Hector Berlioz, who re-orchestrated the opera for its presentation at the Ópera de París.  Today -   a reminder isn’t necessary - the role of Orfeo is sung indistinctly by the most acclaimed mezzo-sopranos, tenors and countertenors.  

Over and above these aspects, this Orfeo stood out in its day for advanced orchestral language and a dramatic concept, far from established conventions, which had an effect on its compact and audacious score; and  that powerfully influenced the young Mozart. The third Orfeo of this season comes to the Teatro Real in the hands of René Jacobs, an experienced explorer of the hidden treasure in the operatic staves of the Classic and Baroque periods.