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L'Orfeo: SV 318
(Schott). Monteverdi's opera L'Orfeo, first performed in Mantua in 1607, is an important milestone in the history of opera. In this new critical edition the entire libretto by Alessandro Striggio is reproduced, including those parts of the text that are not set to music, in the original Italian as well as in a German and English translation.
- GenresMusic
162 pages, Paperback
First published January 1, 1606
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Displaying 1 - 2 of 2 reviews
June 17, 2019
Not too long ago I was one of those skeptics that felt to the pit of their gut that it was impossible for anyone to genuinely love opera. Its pomp and pageantry seemed to me so overly superficial that to have it brought up in conversation identified one with a class marker so far high up into the clouds that to the rest it merely signifies looming storm— “a rain check on that next meeting, please.”
But here I am, a few days since coming off a cursory listen to Claudio Monteverdi’s L’Orfeo while reading along to the libretto, still in shock of how deeply its haunting melodies have lingered within me. They’ve left me renewed. What seemed to me to be utter artifice melted away immediately with the opening Tocatta as it led me down into the psychedelic rabbit hole that is powerful mythology.
That each character expresses themselves in a manner so otherworldly felt exactly right, and somehow more natural given the themes and stakes at each dramatic turn. It seems as though to demonstrate pure emotion only song comes close. Perhaps it’s because we’re so accustomed to concealing ourselves from life’s delicate sores that expressions of sensitivity beyond the occasional scare-induced shriek are looked to with indignation. And maybe without restraints we’d all sing.
Opera in its high dramatic and musical form feels to me like the truest form of expressivity. And the so-called real world is what now feels tempered. I think I’m okay with that.
With the internet, barriers to entry are down. It’s time to dispel our prejudices and allow ourselves to enjoy what the last several centuries of western musical tradition has to offer. I personally can’t wait to dive into the rest of its history, one transformative experience at a time.
But here I am, a few days since coming off a cursory listen to Claudio Monteverdi’s L’Orfeo while reading along to the libretto, still in shock of how deeply its haunting melodies have lingered within me. They’ve left me renewed. What seemed to me to be utter artifice melted away immediately with the opening Tocatta as it led me down into the psychedelic rabbit hole that is powerful mythology.
That each character expresses themselves in a manner so otherworldly felt exactly right, and somehow more natural given the themes and stakes at each dramatic turn. It seems as though to demonstrate pure emotion only song comes close. Perhaps it’s because we’re so accustomed to concealing ourselves from life’s delicate sores that expressions of sensitivity beyond the occasional scare-induced shriek are looked to with indignation. And maybe without restraints we’d all sing.
Opera in its high dramatic and musical form feels to me like the truest form of expressivity. And the so-called real world is what now feels tempered. I think I’m okay with that.
With the internet, barriers to entry are down. It’s time to dispel our prejudices and allow ourselves to enjoy what the last several centuries of western musical tradition has to offer. I personally can’t wait to dive into the rest of its history, one transformative experience at a time.
May 26, 2016
3.75/5
This is the second full opera that I have listened too in my journey through Baroque era opera. It is about the tale of Orpheus the musical demi-god, a son of Apollo. It was written in the transition period between Rennaisance and Baroque periods of music. It is the earliest written Opera that is still regularly perfomed today.
Impressions:
(Spoilers)
I'll start off by saying that I enjoyed the Opera quite a bit. However, it was mostly for the libretto and the story rather than for the music. The music wasn't bad by any stretch of the imagination, quite the opposite actually- I quite liked a number of the songs. But I found it lacked any melodies that I find myself humming the next day. Luckily, the strength of Orpheus' story, rich with metaphor, is combined with a wonderful libretto. It was that aspect of the Opera that drew me in.
Plot:
The Opera has five acts, the first starts off with many nymphs and shephards exclaiming how wonderful the love is between Orpheus and Eurydice. The part of this act that struck out to me was when they talk about how much more wonderful their happiness is now after Orpheus has experienced sorrow.
The second act is one of tragedy. Orpheus is told by a nymph that his beloved was bitten by a snake and died. Orpheus is heartbroken and is resolved to retrieve her from the abyss or die trying.
The third act was my my favorite musically. Orpheus heads to the underworld and is confronted with Charon, who he needs to convince to let him pass. I loved how striking the difference was between the singing parts of Orpheus and Charon were. Orpheus spends a long time singing beautifully to Charon and trying to move his heart. He fails, but is able to lull Charon to sleep and pass anyways.
The fourth act is all the more sad for the hope it introduces at the start. Persephone, moved by the song of Orpheus, persuades Hades to let Eurydice leave. His stipulation is that Orpheus must not turn his eyes upon her until they are out of the underworld. On their trip, Orphues becomes afraid the furies are stealing Eurydice away, and looks back- losing her forever.
The fifth act finishes off the bittersweet tale. Orpheus says he will never love again, and will live in grief. He is visited by his father Apollo, who says that Orpheus is letting his emotions control him. The play ends on a sweeter note with Orpheus mastering his passions and rising to the heavens.
Favorite Parts:
My favorite music parts were some of the musical interludes, and a number of the slower songs through the play. The striking contrast between Orpheus and Charon as they sing together is the most memorable part of me.
My favorite parts of the story were the messages scattered through the opera. The aforementioned note that Orpheus' sorrow helps him appreciate joy stuck with me. So too did the moral that it was Orpheus' fear that lost him his love resonate with me. I particularly liked the ending messages about how it is through mastery of the passions that one finds true fulfillment.
This is the second full opera that I have listened too in my journey through Baroque era opera. It is about the tale of Orpheus the musical demi-god, a son of Apollo. It was written in the transition period between Rennaisance and Baroque periods of music. It is the earliest written Opera that is still regularly perfomed today.
Impressions:
(Spoilers)
I'll start off by saying that I enjoyed the Opera quite a bit. However, it was mostly for the libretto and the story rather than for the music. The music wasn't bad by any stretch of the imagination, quite the opposite actually- I quite liked a number of the songs. But I found it lacked any melodies that I find myself humming the next day. Luckily, the strength of Orpheus' story, rich with metaphor, is combined with a wonderful libretto. It was that aspect of the Opera that drew me in.
Plot:
The Opera has five acts, the first starts off with many nymphs and shephards exclaiming how wonderful the love is between Orpheus and Eurydice. The part of this act that struck out to me was when they talk about how much more wonderful their happiness is now after Orpheus has experienced sorrow.
The second act is one of tragedy. Orpheus is told by a nymph that his beloved was bitten by a snake and died. Orpheus is heartbroken and is resolved to retrieve her from the abyss or die trying.
The third act was my my favorite musically. Orpheus heads to the underworld and is confronted with Charon, who he needs to convince to let him pass. I loved how striking the difference was between the singing parts of Orpheus and Charon were. Orpheus spends a long time singing beautifully to Charon and trying to move his heart. He fails, but is able to lull Charon to sleep and pass anyways.
The fourth act is all the more sad for the hope it introduces at the start. Persephone, moved by the song of Orpheus, persuades Hades to let Eurydice leave. His stipulation is that Orpheus must not turn his eyes upon her until they are out of the underworld. On their trip, Orphues becomes afraid the furies are stealing Eurydice away, and looks back- losing her forever.
The fifth act finishes off the bittersweet tale. Orpheus says he will never love again, and will live in grief. He is visited by his father Apollo, who says that Orpheus is letting his emotions control him. The play ends on a sweeter note with Orpheus mastering his passions and rising to the heavens.
Favorite Parts:
My favorite music parts were some of the musical interludes, and a number of the slower songs through the play. The striking contrast between Orpheus and Charon as they sing together is the most memorable part of me.
My favorite parts of the story were the messages scattered through the opera. The aforementioned note that Orpheus' sorrow helps him appreciate joy stuck with me. So too did the moral that it was Orpheus' fear that lost him his love resonate with me. I particularly liked the ending messages about how it is through mastery of the passions that one finds true fulfillment.
Displaying 1 - 2 of 2 reviews