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The brainchild of opera director Monique Wagemakers, choreographer Nanine Linning and visual artist Lonneke Gordijn, this Orfeo by Nederlandse Reisopera is a thing of infinite beauty.

Iván Fischer’s take on Monteverdi’s opera offers a radical rewriting within the trappings of a traditional staging.

In the Teatro Regio's production everything is according to the script, but the magic of the stage is absent. 

Sir John Eliot Gardiner's Monteverdi 450 trilogy began its Salzburg run with a tear-jerking concert performance of L'Orfeo.

Concerto Italiano excels performing Baroque music, especially the works of Monteverdi. This year it highlights L’Orfeo in its 410th year, and does it exceptionally well.

Even playing in total darkness, the JACK Quartet offers illuminating insights.

A joyously fresh and zesty Orfeo, played on a selection of period instruments and with a magnificent leading tenor, makes for a superb evening of Monteverdi with Sir John Eliot Gardiner. 

Historical verisimilitude and stylistic consistency might have been somewhat wanting... but the daring spirit and hight artistry prevailed in this historic night of operatic scene in Korea!

The Monteverdi Choir and English Baroque Soloists performed Monteverdi's L'Orfeo in Costa Mesa.

Former RSC Artistic Director Michael Boyd imparts a distinctly Shakespearean flavour to Monteverdi's L'Orfeo in this first collaboration between the Royal Opera and the Roundhouse.

Sasha Waltz’s new production of Monteverdi’s Orfeo saw a fusion of sound and movement at the Muziektheater Amsterdam, with dancers and singers twining together almost indistinguishably.

Pale ghostly faces, flowers in heaven and a spell binding Christian Gerhaher: Munich celebrates Monteverdi's Orfeo.

Billed as a “concert hall staging”, the Academy of Ancient Music’s season-opening performance of Monteverdi’s L’Orfeo was brilliantly staged at the Barbican by the director Orpha Phelan and designer Caroline Hughes – as close as one could get to a full production in a concert hall without a pit.

Usually, I don’t find much to be excited about in opera stagings meant to overhaul the genre, to give it the resuscitation it apparently needs. They are always more promising on paper, always less effective in execution: I’ve seen all kinds of sexual permissiveness, giant machines, film projections, even singing robots (an especially low point).

There’s something pretty special about going to see one of the very first operas ever written. It’s particularly special if you love the rhythms of renaissance dance music, the harmonies of polyphonic choral music and if, as I am, you are an admirer of Claudio Monteverdi’s vocal writing: it’s quite plausible to argue that he remains unmatched in his ability to spin a beautiful vocal thread and wea

Set in the wonderful theatre upstairs at the Gatehouse pub in Highgate, Hampstead Garden Opera’s new production of L’Orfeo by Monteverdi contained some memorable images and richly resonant chorus passages.

The last production I saw of L’Orfeo explored the idea of music as a manipulative force, suggesting disturbing consequences to the docility it can engender. Director Claus Guth is less concerned with Orfeo the musician, and makes minimal acknowledgement of the work’s pastoral and mythic elements.

Eine mutige Inszenierung und magischer Surround-Sound machen den antiken Stoff zum uneingeschränkt imponierenden Musikdrama.

Eine verheißungsvolle Kraft der Tonsprache Monteverdis, der nur ein minimales Quäntchen zur Ergriffenheitsschwelle fehlte für den Olymp.

L'Orfeo de Monteverdi fait l'objet d'un travail d’équipe millimétré entre Emiliano Gonzalez Toro, Mathilde Etienne et Thomas Dunford, pour un résultat merveilleux.

Premier volet de la trilogie Monteverdi programmée à la Philharmonie en ce début de saison, cet Orfeo dirigé par Sir John Gardiner s'avère aussi envivrant musicalement que vocalement.

Der Trilogie-Auftakt von Gardiners Monteverdi-Feier beim Musikfest Berlin war eine Wucht: Solisten, Chor und Orchester, hier stimmte eigentlich alles; Orfeo eine Klasse für sich.

Die wenigen Chornummern des Werkes gestalteten sich zu musikalischen Höhepunkten des Abends. Die Sänger bewiesen Agilität, Präzision, ausgezeichnete Diktion, produzierten vor allem einen bewundernswerten Chorklang, der den Saal problemlos füllte.

Aurait-on mieux pu entamer cette année 2017 qui marque le 450ème anniversaire de la naissance de Monteverdi que par cette merveilleuse exécution de ce deuxième opéra (et premier chef-d’oeuvre) de l’histoire de la musique au Palais des Beaux-Arts ?

Zu seinem 450. Geburtstag widmen die Schwetzinger SWR-Festspiele einen Schwerpunkt der Musik Claudio Monteverdis und bringen seine drei erhaltenen Opern in halbszenischen Aufführungen. Besonders das subtil differenzierende Spiel des Ensembles La Venexiana begeisterte am ersten Abend in Orfeo.

Après avoir entrepris d'interpréter l'intégralité des madrigaux entre 2011 et 2015, Les Arts Florissants menés par Paul Agnew poursuivent leur travail autour de l'oeuvre de Monteverdi en proposant une lecture de l'Orfeo enrichie par une distribution lumineuse, toute désignée pour le répertoire.

Les Arts Florissants, de la mano de Paul Agnew, recrean el sonido y formato original de L'Orfeo de Claudio Monteverdi.

Le 8 novembre 2015, Sir John Eliot Gardiner interprète l'Orfeo de Monteverdi en version de concert dans la Galerie des Glaces. La qualité sans failles de The English Baroque Soloists, The Monteverdi Choir, et de chaque chanteur soliste a résulté en une interprétation qu'on pourrait qualifier de parfaite...en tout cas inoubliable.