Robert Carsen’s minimalist production of Gluck’s Orfeo ed Euridice returned to the Four Seasons Centre after a gap of 14 years; longer than planned due to the pandemic. It has aged well. The monochrome look; costumes almost exclusively black and white and the grey, gravel strewn set with occasional use of flaming lamps that cast giant shadows against the backdrop plus Euridice’s grave from which she reemerges dramatically in Act 2, suits both the unearthly setting and the restrained nature of the music. There’s no snarling Cerberus nor furious demons in this Hades; just quietly reflective and rather sad souls. The lighting, too, mostly matches the somber mood but just occasionally added a touch of colour where needed.
The use of the chorus is the one really characteristic Carsen touch. It is arranged artfully and intricately and quite often in contrasting and counter-marching groups. Otherwise the simplicity is perhaps more Robert Wilson than Robert Carsen. The simplicity of the set means that the principals are often left very exposed on a near empty (and quite large) stage. This is especially true for Orfeo but in some ways it seems even more striking after Euridice reappears.
It’s a tribute to the singers and revival director Christophe Gayral that they manage to create so much chemistry on such a bare canvas. The Act 3 interactions between Iestyn Davies’ Orfeo and Anna-Sophie Neher’s Euridice are very well done with a lot of carefully timed “not looking”. It’s quite touching and add a genuinely human element. Catherine St-Arnaud as Amore adds some liveliness; almost bordering on humour, that just adds a touch of light in the pervasive gloom.
Musically, it was s a top-drawer performance. All three soloists were accurate, stylish and entirely idiomatic. Iestyn Davies, in particular, had a lot to and was on stage the whole time yet he still sounded fresh for the night’s one big number “Che farò senza Euridice”. The orchestra, too, made a huge contribution. Conductor Bernard Labadie had the COC Orchestra, playing on modern instruments, sounding almost like a period instrument ensemble with minimal vibrato and softened dynamics. The effect, again, was a restrained elegance that was of a piece with the designs and the very pure singing from the soloists. The chorus too was first rate. The movement is co-ordinated but restrained. Every gesture is considered. The singing matched the orchestra for purity and beauty of sound. I don’t think I have ever heard Gluck sound more like Gluck!
There’s a really nice touch at the end to cap things off. As Euridice is redeemed for the second time we get light. The stage glows and the house lights come up briefly to include us, the audience, in the redemption through love. This production was a critical and popular success in 2011. It’s at least as effective this time around.
