Christoph Willibald
GLUCK
(1714-1787)
Orfeo ed Euridice
Vienna Version, 1762
Opera in Three Acts
Libretto b y Ranieri de' Calzabigi
..........................................Ann-Christine Biel
.................................................MayaBoog
...............................................KerstinAvemo
Orfeo
Euridice
Amor
Shepherdsand Nymphs Furies and Spectres of Hades
Heroes and Heroines of Elysium Followers of Orfeo
Drottningholm Theatre Orchestra (Leader: Jorie Garrigue)
Drottningholm Theatre Chorus (ChorusMasters: Mark Tatlow, Sanna Hodell Risberg)
Arnold 0stman
Lil
Aria: Milk perre
(Orfeo)
Chorus: Ah, quale incog~litoaffetroflebile
Aria: Mert tirarrne
(Orfeo)
Chorus: Ah, qrrale irrcogrrito affettoflebile
Overture
Act I, Scene 1
13:43
[II Chorus: Ah, se irrtorrto a qttest'trrrrafrrrtesta 3:05
I3 Recitativo: Basta, basta, o conrpagrri
0:41
(Orfeo)
Ballo
1:31
[51 Chorus: Ah, se irrtor~ro
a q~iest'~mmfrinesta2:24
3
!l Aria: Clriarrto il rnio be11cosi
1:05
(Orfeo)
I7 Recitativo: Errridice, onrbra c a m
053
(Orfeo)
Aria: Cerco il ntio berr cosi
1 :03
(Orfeo).
Recitatrvo: Errridice, Errridice!
1:02
(Orfeo)
Q Aria: Piarrgo il rnio bell cosi
(Orfeo)
kecitativo
Nr~iri,Barbari Ntrnri
(Orfeo)
Scene 2
Recitiativo: T'assiste Anlore!
(Amor, Orfeo)
D3 Aria: Gli snuardi trattie~ri
(Amor)
Recitativo: CIre dissc? Cite ascoltai?
(Orfeo)
H Endof Act I
-
Act 11, Scene 1
ill Ballo
1:39
9:08
1:06
Bil Chorus: Clri ntai dell'Erebo fra le calinirri
0:27
Ballo
0:40
tl$ Chorus: Clri rnai del1'Erebofr.a le caligirri 1:01
Ballo
1:04
E% Dell ~ l a c a t econ
~ i nre
2:04
(ordo, Chorus)
Chorus: Misero giovarre, clre ~rtroi,clre nrediti 0:47
Scene 2
Ballo
Arioso: Clte puro ciel
(Orfeo, Chorus)
I
Chorus: Vierri a' reg~ridel riposo
Ballo
Recitative: Arri~t~e
a~'~~entrrrose
(Orfeo, Chorus)
Chorus: Torna, o bella, a1 trio consorte
Act Ill, Scene 1
H Recitativo: Viesi, segni i rniei passi
(Orfeo, Euridice)
Duetto: Vierri appaga il trio cortsorte
(Orfeo, Euridice)
Recitativo: Qrial vita 2 qaesta nrai
(Euridice)
E Aria: Chefiero rr~orr~entoito
(Euridice)
Recitativo: Ecco CI rlrrola torrrrento!
(Orfeo, Euridice)
E! Aria: Clzefar6 senza Errridice?
(Olfe~),
Rec~tat~vo:
Ahfir~iscaeper serrrpre
(Orfeo)
W
Scene 2
E@
Recitativo: Orfeo, clte fai?
(Amor, Orfeo)
Scene 3
Chorus: Triorfi Amore
(Orfeo, Amor, Eoridice, Chorus)
0:45
0:45
0:41
1:09
11:07
1:09
426
1:43
1:21
0:42
l:47
Christoph Willibald Gluck (1714-1787)
Orfeo ed Euridice
The son of a fore~terwho, by 1727, was in the service
of Prince Philipp Hyazinth van Lobkowitz. Christoph
Willibald Gluck was born in 1714 and spent his
childhood in his native Bohemia, with its strong
musical traditions. He studied at the University of
Prague, while continuing his own musical activities,
and by 1734 was in Vienna, it is supposed \r,ith the
patronage of the Lobkowitz family. There followed a
period in Italy, chiefly in Milan, during which he
began to establish himself as a composer of opera. It
was perhaps through his connection with the
Lobkowitz family that he found himself in 1746 in
London, commissioned to provide opera for the King's
Theatre, and the following years brought employment
in various cities of Europe. In 1750 he married in
Vienna and in the next years wrote operas on libretti by
Metastasio for that city, for Prague, Naples and Rome,
while serving first as Konzertmeister and then as
Kapelhneister to the Prince of Saxe-Hildburghausen.
For this patron he set Metastasio's libretto Le ciresi, a
sumptuous performance of which for the Emperor
brought a satisfactory reward, not least in establishing
Gluck in court circles. During the decade he
collaborated with Count Durazzo, who had been
appointed in 1754 to take charge of the two principal
theatres of Vienna, particularly in the provision of
adaptations of French optra coliriqrre for the Viennese
stage.
The collaboration with Durazzo was of great
importance both for Gluck and for the history of opera.
In 1755 he became court composer and in 1759
composer of ballets, with responsibility in the
following year for theatre music. In 1761 he
collaborated with the dancer and ballet-master Gasparo
Angiolini in a new ballet d'actiorr, a ballet with a story,
following now current fashions, Don Jrrarr orr Le festin
rle pierre (Don Juan or The Stone Guest). The arrival
in Vienna that year of Ranieri de' Calzabigi was the
catalyst for a change of course for opera, now
abandoning the conventions of Metastasian opcrrr
.serirr in favour of a new si~i~plicity
and a measure of
dramatic realism. The first result of the joint work of
Calzabigi. Angiolini and Gluck, under the
encot~ragemeot of Count Durazzo, was 0r:feo e ~ l
E~rridice.There were to be t\rrofurther 'reform' operas
with Calzabigi, in 1767 Alceste (Naxos 8.66066-68)
and in 1770 Paride ed Elenrr. Betmeen 1774 and 1779
Gluck enjoyed considerable success in Paris, where a
French version of Orfeo ed E~rr-idicewas staged in
August, 1774, and an adaptation of Alceste two years
later. The failure of his Ovidian Echo et Narcisse and
ill-health brought him in 1779 back to Vienna, where
he remained until his death in 1787.
Gluck later credited Calzabigi with the inspiration
for Orfeo ed Errridice, a judgement in which the
librettist himself fully concurred. Calzabigi laid
particular stress on the relationship between opera and
declamation, in one sense a return to the very origins
of the form in its late sixteenth-century association
with rhetoric. In his introduction to the work he
explains that he bas changed the scene of Eurydice's
death from Thrace to Campania, near to the reputed
entrance to the Undenvorld near Lake Averno, thus
preserving the Aristotelian unity of place. He further
adapted the legend, according to which Orpheus had
lost Eurydice by disobeying the prohibition laid on him
not to look round at her as be left the Undenvorld, by
conforming with the happy ending expected of the
modem stage and avoiding the harsher ending outlined
in his classical sources, Vergil's fourth Georgic and
the sixth book of the Aelreid. At the first performance,
given on 5th October 1762 at the Burgtheater in
Vienna, the p a t of Orpheus was taken by the castrato
Gaetano Guadagni, with Marianna Bianchi as
Eurydice and Lucile Clavereau as Cupid (Love).
'
Synopsis
[iI The lively overlure touches briefly on something of
the drama to come.
Act I
Scene 1
Act 11
Scene 1
The scene is set in the dreaded caverns of Hades.
Furies and spectres dance their infernal dance,
interrupted by the sound of the lyre of Orpheus.
[ZI Solemn music at the rise of the curtain reveals a
lonely grove of laurels and cypresses, with the tomb of
Eurydice, around which nymphs and shepherds lament,
while Orpheus calls on his beloved.
The spirits seek to know who dares to enter Hades,
following the heroes Hercules and Pirithous.
They resume their dance.
[31 In a recitative Orpheus bids his companions to
desist and leave him alone to mourn.
[41 The nymphs and shepherds continue their mourning
The spirits repeat their question and call on the
Eumenides and Cerbems to deter the mortal, if monal
he is.
dance.
They resume their dance
They end their lament and disperse.
ma Orpheus
calls out the name of his beloved
Eurydice, weeping for her loss.
fjj He bitterly inveighs against the powers of the
Underworld.
Scene 2
The god of Love appears, offering help. Orpheus
will be allowed to bring Eurydice back from the dead, if
he can, with his music, placate the furies and spirits of
Hades. In bringing her back, he must not turn to look at
her, as she follows him back to the land of the living,
nor may he explain to her the reason for his actions.
Love urges Orpheus to follow this decree,
reminding him that his suffering will be transitory and
that lovers are sometimes without words.
Orpheus is overjoyed, hut foresees the difficulties
he will encounter in Eurydice's bewilderment at the
hehaviour commanded of him.
There is thunder and lightning as he goes.
5
Orpheus seeks to calm the Furies and spirits
They are partially placated by his pleas and ask
Orpheus his purpose.
E3
Orpheus declares himself a fellow-sufferer with the
spirits of Hades, with his own torments.
The spirits are further mollified.
Orpheus continues his pleas, if the spirits around
him have ever felt the pangs of love.
t
B
Now placated, the spirits give way and allow
Orpheus to enter the gates of their realm. They disperse.
Scene 2
The scene changes to a verdant countryside,
meadows covered in flowers, arbours and murmuring
streams. Orpheus is joined by heroes and heroines of
old.
Orpheus delights in the scene, hut Elysium is not
for him: his paradise is Eurydice, whom he now seeks.
8.660064
The heroes and heroines praise the courageous
example of Orpheus.
@J She has passed from death to such sorrow.
I They dance.
resist no longer. He turns to look at her, and she dies.
Orpheus is impatient to see Eurydice, who now
appears.
H She is escorted by heroines of the past and Orpheus
takes her hand and hurriedly leads her away.
Act 111
Scene 1
Orpheus leads Eurydice on the path to the upper
world, always without looking at her. She is at first
delighted and then puzzled and angry at the failure of
her husband to embrace her or even look at her. He
remains steadfast, still leading her on.
D l Eurydice pleads with Orpheus, who finally can
Orpheus laments the second death of his beloved.
l 3 l Now he only wants to follow her back to Hades,
joining her in the journey over the Styx.
Scene 2
As he is about to kill himself, Love intervenes,
disarmine him and brineine a reward for his love and
constancy. Eurydice shall live again, and she comes to
life again, waking as from a deep sleep. They are now
re-united.
-
--
Scene 3
El At a sign from Love the scene changes to the temple
Both are distressed by the situation, Eurydice by her
husband's seemingly unfeeling behaviour, and Orpheus
by her importunity.
Eurydice foresees future unhappiness and declares
herself now unused to the troubles of humanity.
of Love, where nymphs and shepherds celebrate the
return of Eu~ydice,joined in their~ejoicingby Orpheus.
Keith Anderson
Ann-Christine Biel
Educated at the MusikhBgskolan Stockholm, Ann-Christine Biel made her d6but at the Dmttningholm Court
Theatre as Chembino in Le noqe di Figaro, going on to undertake there the r6les of Pamina, Susanna, Fiordiligi,
Ilia and Serpetta in the series of M o m operas with the producer Goran Jwefelt, under the conductor Arnold
Ostman. She made her dCbut at the Royal Opera Stockholm as Oscar in Verdi's (111ballo in rnaschera with Nicola
Gedda singing Gustavus. Her international debut came when she appeared as Michaela in Peter Brook's famous La
frag6diede Carfrzert,first in Paris and then in an international tour inEurope, Japan, Australia, Canada and, for one
year, on Broadway in New York. She has also sung many concerts in the United States. Ann-Christine Biel has
taken part in several television productions and given concerts in Schwetzingen, Parma, Frankfurt, Amsterdam,
BNSS~~S,
London, New York, Chicago and Beijing, among other musical centres.
Maya Boog
The Swiss soprano Maya Boog studied singing and church music in Lucerne, completing her training at the
Cologne Musikhochschnle in 1993, the winner of various awards, notably in the Barcelona Francisco Viiias
Singing Competition. She made her debut at the Municipal Theatre in Lucerne and also participated in the Zurich
International Opera Studio. Her career has brought her engagements particularly in Baroque and Mozart operas in
Darmstadt, at the Komische Oper in Berlin, in Mannheim, St Gallen and Drottningholm, as well as with the Vienna
Volksoper and in the Salzburg Mozart Week. In 2000 she took the title r6le in Rimsky-Korsakov's The Golden
Cockerel at the Bregenz Festival. She has appeared in oratorio and in Lieder recitals throughout Eumpe and made
her American d6but at Ann Arbor in Bach's St Matthew Passiort in 2000.
Kerstin Avemo
The Swedish soprano Kerstin Avemo was born in Stockholm in 1973 and started her musical education learning
the ~ i a n o
and the cello. She studied at the Adolf FredrikMusic School and the Stockholm Musikn~rnnasium,before
entiring the Operastudio-67and undertaking her fast operatic engagements in operas by ~ o n t & r d iPuccini
,
and
M o m , in 1996 as Despina in Cosi fa11 tune. In 1996 she entered the Operahdgskolan in Stockholm and in the
following winter season sang the leading part of Agnes in Rolf Liebermann's Sclurle der Fracre~z,at the invitation
of the Vienna Opera School, at the Schonbmnn Schlosstheater and a number of German opera-houses. She made
her dCbut at Drottnin~holmwith Amor in Cluck's Orfeo ed Ettridice and in 1999appeared with the Royal Swedish
t aMozart's ~*ijirrru$ardi~tiera.
She won success at
Opera as Jenny in ~oieldieu'sUar~zeUlunche and a s ~ e r ~ c tin
thc Stockholm Folkoperan as Violetla in u.!i rr~r~~inra
and is engaged lo sing the title-r6le in Berg's I ~ t in
b 2002.
Drottningholm Court Theatre
Drottningholms Slottsteater (Drottningholm Court Theatre) was built to the design of the theatre architect, Carl
Fredrik Adelcrantz, at the request of Queen Lovisa Ulrika. The building was completed in 1766 and rests on the
remains of an earlier theatre destroyed by fire in 1762. Drottningholm Slottsteater is built of simple materials. The
decorations that adorn the auditorium form a theatrical game in stucco, papier michd and paintings. During the
eighteenth century the rooms off the auditorium acted as dwellings for the staff and as public rooms. In 1791 certain
adjustments were made to the royal apartments and a foyer, the D6journersalong. was built to the design of L. J.
Desprez.
The stage measures twenty metres from the footlights to the back and is still one of the deepest in Sweden. The
stage machinery, constructed by the Italian mechanic D. Stolpani, allo\vs for quick changes of scenery while the
curtain is up. In addition the stage has moving waves, trap-doors, cloudcars, lighting machinery and wind and
thunder apparatus. Its heyday began in 1777 when Gustaf IU took over the palace. The repertoire included foreign
and Gustavian operas, op4ras comiques, French classical dramas and pantomime ballets. After Gustaf's death in
1792 Swedish theatrical life stagnated. Drottningholms Slottsteater was more or less forgotten. At the beginning of
the 1920s the court theatre was 'rediscovered' by the literary and theatre historian Agne Beijer. Under his guidance
the theatre was restored to its original condition. The stage machinery was fitted with new ropes and wax candles
were replaced by electric lamps. The unique collection of original scenery, of which fifteen complete and twenty
incomplete sunrive, have now been copied for use today.
The curtain rose again in the theatre on 19th August 1922. The performances, few at fist, gradually increased,
and the theatre acquired a growing international reputation as a festival theatre, with works by Haydn, Handel,
Gluck and Mozart and numerous perfonnances by artists and companies from abroad. The theatre soon became
renowned for its reconstructions of eighteenth-century ballet and historically informed performance has become
central to the theatre's philosophy.
Drottningholms Slottsteater is administered by the Stiftelsen Drottningholms teatermuseum. Performances are
financed mainly with contributions from the Swedish State and annual financial support from ForeNngen
Drottningholmsteatems Vanner (The Friends of Drottningholm). In addition to the theatre's own productions, the
Royal Opera, Stockholm gives guest performances each year. In 1991 the World Heritage Committee of UNESCO
designated the theatre, together with Drott~ngholmPalace, the Chinese Pavilion and the sul~oundingpark, a World
Heritage site.
Drottningholm Theatre Orchestra
First Violins
Violas
Oboe
Trumpets
Jorie Garrigue
Theresa Caudle
Iona Davies
Elin Gabrielssou
Zbigniew Pilch
Peter Spissky
Torbjorn Kohl
Elisabeth Amherg
Pedrag Novovic
Peter Frankenberg
Kennet Bohmau
David Hendry
Michael Shaw
Cellos
Chalumeaux
Trombones
Alf Horberg
Dominic O'Dell
Kristina Lindgkd
Bassoon
Walter Brolund
Urban Wiborg
Sven Larsson
Second Violins
Ulrika Wahlberg
Marit Bergman
Marek Skuza
Pauline Smith
Basses
Yngve Malcus
Love Persson
Flutes
Maria Bania
Heinz Meyer
Sven Aarflot
Harp
Horns
Berit Lindgreu
Raul Diaz
Kerstin Ripa
Timpani
Johnny Ronnlund
Chrlstoph Willibald Gluck (1714-1787)
Orfeo ed Euridice
Christoph WiUibald Gluck, 1714 in Erasbach in der
Oberpfalz geboren, wuchs in Nordbiihmen auf, wo sein
Vater 1727 als Forstmeister in den Dienst des &ten
Philipp Hyacinth vou Lobkowitz trat. Nachdem er schon
fNh mit der Whmischen Musiktradition vertraut
geworden war, fiihrte ihn sein Weg iiber ein Studium an
der Rager Universitiit 1734 zuniichst nach Wien und
spiter nach Italien, wo er hauptsichlich in Mailand
verblieb. Hier beg~ndete er seinen Ruf als
Opernkomponist. Vermutlich mit Unterstiitzung des
Hauses Lobkowitz ging er 1746 nach London und
komponiem Werke fiir das dodge King's Theatre. Es
folgteu verschiedene Stationen auf dern europiischen
Kontinent. 1750 heiratete er in Wien die
Kaufmannstochter Marianne Pergin und schrieb in den
folgenden Jahren fiir diese Stadt, fiir Rag, Neapel und
Rom Opem auf Libretti von Piem Metastasio, wihrend er
zuniichst als Konzerhneister und danach als Kapellmeister
fiir den Prinzen von Sachsen-Hildburghausen arbeitete.
Gluck war wesentlich an der Vorbereitung eines vom
Prinzen veranstalteten groku Musik- und Theaterfestes
beteiligt, fiir das er ua. auch die Musk zu Metastasios
Einakter Le cinesi schrieb.Es wurde ein glanzvolles Fest,
das sein weiteres Fortkommen in Wien erleichterte und
ihm Beziehungen zum kaiserlichen Hof vmchaffte.
Wihrend dieses J h h n t s arbeitete er mit dern Grafen
D
m zusammen, der ab 1754 die beiden p O e n
Wiener Theater leitete; bier besch;iftigte sich Gluck
besonders mit dm Bearbeitung der franziisischen opera
comique fiir die Wiener Biihne.
Die Zusammenarbeit mit D
m war von grokr
Bedeuhmg fiir Gluck und fiir die Geschichte der Oper
schlechthin. 1755 wurde er Hofkomponist und 1759
Ballettkompnist, und im Jahre darauf war er auch fiir die
Schauspielmusik verantwdch. 1761 schuf er mit dern
Timer und Ballemneister G a s p Angiolini das Ballett
Don Juan ou Le festin de pierre @on Juan oder Der
Steineme Gast), ein sog. ballet d'action; derartige
,,Handlungsballette" waren die Mcde der Zeit. Im selben
Jahr kam der Dichter und Literat Ranieri de' Calzabigi
8.660064
nach Wien, wo er fiir einen Richhmgswechsel auf dern
Gebiet der Oper sorgte, indem er die Konventionen der
metastasianischen opera seria zugunsten einer neuartigen
Schlichtheitund eines gewissen dramatischen Realismus
aufgab. Das m t e Resultat der Gemeinschafmrbeit von
Calzabigi,Angiolini und Gluck war Orfeo edEuridice.Es
folgten noch zwei weitere sog. , R e f o n n o p " mit
Calzabigi: 1767 Alceste (Naxos 8.66066-68) und 1770
Paride ed E l m . Zwiscben 1774 und 1779 feierte Gluck
g r o k Erfolge in Paris, wo im August 1774 eine
franziisiscbe Fassung des Orfeo und zwei Jabre s p k r
eine Bearbeitung der AIceste gespielt wurde. Doch nach
dern Pariser MiEerfolg seiner Oper Echo et Narcisse, bei
d m n Proben er einen Schlaganfall erlitten hatte, kehrte
Gluck nach Wien zuriick, wo er bis zu seinem Tode im
Jahre 1787 hlieb.
Calzabigi nahm sptiter fiir sich in Anspruch, Gluck
durch seinen klassisch mdvollen Text wesentlich zur
Kompsition des Ofeo inspirien zu baben; Gluck hat
dern nie widerspmchen. Besondereu Wert legte der
Librettist auf die Beziehung zwischen Oper und
Deklarnation, in gewissem Sinne auf eine Ruckkehr zu
den ersten Anfbgen der Gattung im spaten 16.
Jahrhundert in ihrer Verbindung mit der Rhetorik. In
seiner Vorrede erklirt er, dass er den Schauplatz von
Eurydikes Tod von Thrakien nach Kampanien verlegt
habe, in die Nihe des vermeintlichen Eingangs zur
Unterwelt nahe dern Avemer See, um damit die von
Aristoteles geforderte Ehheit des Ortes zu gewtibleisteu.
Weiterhin adaptierte er die Legende (nach dm Orpheus
Eurydike verliert, da er das Verbot, sich nach dern
Verlassen der Untenvelt nach ihr umzuwenden,
missachtet), indem er sich flir das zeitiibliche ,,lieto fine",
das gltickliche Ende, anstelle des b&teren Schlusses der
klassischen Vorlagen, Vergils 4. Georgica und des 6.
Buchs der h i s , entschied.- Bei der Urauffihmg am 5.
Oktober 1762 im Wiener Burgtheater sang der Kash-at
Gaetano Guadagni den Orpheus; Marianna Bianchi war
die Eurydike und Lucile Clavereau sang die Partie des
Amor.
10
Die Handlung
[II Die lebhafte Ouverture stimmt auf das folgende
Geschehen ein.
Handelns voraus.
@J Blitzen und Douner. Er geht ab.
Erster Akt
Szene 1
Einsamer Hain von Lorbeerbaumen und Zypressen
mit dem Grab Eurydies. Zu feierlich-emster Musik
erklingen die Klagen der Nymphen und Schafer sowie die
Wehmfe des trauernden Orpheus.
Zweiter Akt
Szene 1
F
d Furchterregende Hohlengegend im Hades. Orpheus
lhst seine Leier erklingen, warend Furien und Geister
ihn mit einem Hollentanz begriil3en.
[31 Orpheus bittet seine Begleiter, ihn in seiner Trauer
allein zu lassen.
Die Geister verlangen zu erfahren, wer \vie die
Helden Herakles und Peiristhos zu ihnen hinabgestiegen
sei.
[41 Die Nymphen und Schafer fahren mit ihrem
Die Geister setzen ihren Tanz fort.
Trauertanz fort.
[51 Sie beenden den Klagegesang und ziehen sich
zu~ck.
Die Geister beschw6ren die Eumeniden, Orpheus den
Weg zu versperren.
B a Orpheus mft
Die Geister setzen ihren Tanz fort.
den Namen seiner geliebten Ganin
und beweint ihren Tod.
fjj Voll Bitterkeit beklagt sich Orpheus uber die
Orpheus versucht, die Furien und Geister mit seinem
Gesang zu besanftigen.
erbarmungslosen Gotter der Untenvelt.
Szene 2
Amor, der Gott der Liebe, schwebi herab und bietet
seine Hilfe an. Orpheus durfe seine Gattin aus dem
Totenreich entfiihren, wenn es ihm gelinge, die Furien
und Geister des Hades durch die Macht seines Gesanges
zu besanftigen. Auf ihrem Weg z u ~ c kzur Welt der
Lebenden diirfe er sich aber nicht nach Eurydike
umwenden und ihr den Gmnd seines Handelns mit
keinem Wort erklaren.
Der Widerstand der Geister l e s t nach; sie fragen
Orpheus nach dem Gmnd seines Kommens.
Orpheus erklM, dass er \vie die Geister selbst tausend
Qualen leide.
Die Geister beginnen Mitleid zu fiihlen.
Orpheus fragt die Geister, ob ihnen das Sehnen eines
liebenden Herzens bekannt sei.
Amor gemahnt Orpheus damn, dass sein Leid bald
ein Ende haben werde, wenn er in seinem Vorhaben
standhaft bleibe.
Der Gesang hat die Geister geNM, die nun den Weg
zu den Gefilden der Seligen freigeben.
Orpheus ist ubergliicklich, sieht aber Eurydies
Verzweiflung angesichts des von ihm verlangten
t
D
11
Szene 2
Landschaft mit griinen Hainen, blumigen Wiesen,
Fliissen und Bkhen. Orpheus sieht sich umgeben von den
8.660064
seligen Geistem der Verstorbenen.
Elysische Heiterkeit udangt ihn. Aber noch hat er
Eurydiie, das Ziel seiner Sehnsucht, nicht gefunden.
E l Die seligen Geisterpreisen Orpheus' Treue.
Eurydike glaubt, vom Frieden des Todes in ein Leben
voll Schmen znriickgekehrt zu sein.
@I Orpheus kann die Vonviirfe Eurydiies nicht ranger
ertragen und wendet sich ihr zu. Als er sie anblickt, stirbt
sie.
Tanz der seligen Geister
Orpheus beklagt den emeuten Tcd Eurydii.
H Orpheus envartet voll Ungeduld Enrydiie, die nun
erscheint.
Eine Schar von Heroinen geleitet Eurydike zu
Orpheus. Er ergreift ihre Hand und fiihrt sie eilig himweg.
H
Orpheus wird nur noch von einem Wunsch beseelt:
Eurydiie in den Hades zu folgen.
Szene 2
PIS Orpheus aus dem Leben scheiden will, eilt Amor
herbei, enhvendet ihm die Waffe und belohnt ihn fijr seine
Liebe und Standhaftigkeit, indem er die Entschlafene
noch einmal zu neuem Dasein enveckt.
Dritter Akt
Szene 1
E131 Orpheus fiihrt Eurydike an das Licht des Tages. ohne
sich nach ihr umzuwenden. Sie ist zunachst entziickt,
dann aber vermisst sie die Z;irtlichkeit des Gatten. Doch Szene 3
Orpheus bleibt standhaftund fiiM sie weiter.
@j Auf ein %then Amors venvandelt sich die Szene in
den Tempel des Liebesgottes, wo Orpheus mit Nymphen
Enrydiie leidet unter der vermeintlichen und Sch'dfem die Macht Amors und die Riickkehr
Gefiihllosigkeit ihres Gatten, Orpheus unter ihrem Eurydiies besigt.
Zweifel an seiner Liebe.
Eurydike fiirchtet sich vor ihrem zuklinftigen Los;
nicht langer want sie sich den Leiden der Menschen
gewachsen.
Keith Anderson
Deutsche Fassur~g:Bernd Delfs
Christoph Willibald Gluck (1714-1787)
Orfeo e d Euridice
Fils d'un forestier qui B partir de 1727, fut au service du
trajectoire pour l'optra, renonGant dtsormais aux
prince Philipp Hyazinth von Lobkowitz, Christoph conventions de I'opera seria en faveur d'une silnplicitt
Willibald Gluck naquit en 1714 et passa son enfance nouvelle et d'une certaine mesure de rCalisme thtStral.
dans sa Bohkme natale, aux traditions musicales bien Le premier rbsultat du travail conjoint de Calzabigi,
ancrtes. I1 Ctudia B I'universitt de Prague tout en Angiolini et Gluck, sur les encouragements du comte
poursuivant ses propres activitts musicales, et arriva B Durazzo, fut Orfeo ed Elrridice. I1 devait y avoir deux
Vienne en 1734, sans doute gr2ce au patronage de la autres optras a de la r6forme >> avec Calzabigi, en 1767
famille Lobkowitz. Suivit une ptriude en Italie, Alceste (Naxos 8.66066-68) et en 1770 Paride ed
principalement B Milan, pendant laquelle il commenga Q Elerra. Entre 1774 et 1779, Gluck connut un succks
se forger une rtputation de compositeur d'optra. C'est considtrable B Paris, oB une version fran~aised'0q"eo
peut-&tregrsce B ses relations avec la famille Lobkowitz ed Errridice fut montte en aoiit 1774, ainsi qu'une
qu'il se retrouva B Loudres en 1746, avec la mission de adaptation d'Alceste deux ans plus tard. L'tchec de son
foumir des optras au King's Theatre, et les anntes Eclro et Nurcisse d'aprks Ovide et sa mauvaise sautt le
suivantes le virent travailler dans diverses villes ramenkrent B Vienne en 1779 et il y demeura jusqu'l sa
d'Europe. En 1750, il se maria i Vienue ; au cours des mort en 1787.
anntes qui suivirent, il Ccrivit des optras sur des livrets
Plus tard, Gluck reconnut que Calzabigi ttait i
de Mttastase pour Vienne, Prague, Naples et Rome, l'nrigine d'Oifeo ed Etrridice, jugement avec lequel le
tout en occupant d'abord le paste de Korrzertrneister librettiste ttait lui-m&me entikrement d'accord.
puis de Kapellr~reister du prince de Saxe- Calzabigi insistait beaucoup sur le lien entre optra et
Hildburghausen. Pour ce mCcbne, il mit en musique le dtclamation, ce qui d'une certaine f a ~ o nconstituait un
livret de Le cirresi, dont une somptueuse reprtsentation retour aux origines de cette forme, lorsque au XVIB
lui valut une belle gratification de l'empereur, ce qui sibcle elle Ctait associie i la rhttorique. Dans son
l'introduisit dans les cercles royaux. Pendant la introduction B I'ouvrage, il explique avou transpost la
dCcennie suivante, il collabora avec le comte Durazzo, scene de la mort d'Eurydice de Thrace Q la Campanie,
qui avait t t t nommt en 1754 B la tete des deux pr2s de la fameuse entrCe des Enfers au bord de
principaux thtitres de Vienne, notammeut pour I'Aveme, prtservant ainsi I'unitt de lieu recommandte
par Aristote. De plus, il modifia la Itgende, dans
l'adaptation d'optras comiques fran~ais.
Cette collaboration fut trks importante B la fois pour laquelle OrphCe perd Eurydice en dtsobtissant B
Gluck et pour l'histoire de I'optra. En 1755, il devint I'interdiction de la regarder avant d'avoir quittt les
compositeur de la cour et en 1759 compositeur de Enfers, se conformant B la conclusion heureuse en cours
ballets, avec I'aunCe suivante la responsabiiitt de la B I'tpoque et tvitant la fin plus cruelle que soulignent
musique de scbne. En 1761, il collabora avec le danseur ses sources classiques, les Gtorgiques et I'Entide de
et maitre de ballet Gasparo Angiolini pour nn nouveau Virgile. Lors de la criation, d o ~ t lee 5 octobre 1762 au
ballet d'uctiorl, ballet comportant nne intrigue suivant la Burgtheater de Vienne, le r6le d'Orphte Ctait tenu par le
mode d'alors ; ce fut Don Jrtmr, orr Le festirr cle pienr. castrat Gaetauo Guadagni, avec Marianna Bianchi en
L'arrivte B Vienne cette annte-li de Ranieri Eurydice et Lucile Clavereau en Cupidon.
de' Calzabigi fut Ie declencheur d'un changement de
Synopsis
[iI La vive ouverture Bvoque bribvement des BIBments
du drame qui se noue.
Acte I
Schne 1
[21 Sur une musique solennelle, le lever du rideau
rBv&leune clairibre de lauriers et de cyprks isolk, avec
la tombe d'Eurydice, autour de laquelle des nymphes et
des bergers se lamentent, tandis qu'OrphBe appelle sa
hien-airnee.
Acte I1
Scene 1
fBLa
scbne se dkroule dans les terribles grottes
d'Hadbs. Des furies et des spectres extcutent leur danse
infernale, interrompus par le son de la lyre d30rphBe.
Dl Les spectres cherchent B apprendre le nom de celui
qui ose pBnBtrer en leur royaume sur les traces des htros
Hercule et Pirithoos.
Ils reprennent leur danse.
[31 Dans un ricitatif, OrphBe renvoie ses compagnons
pour pouvoir pleurer seul.
H Les spectres ditbrent leur question et invoquent les
[41 Les nymphes et les bergers poursuivent leur danse
EumBnides et Cerbbre pour repousser ce mortel, si c'en
est un.
de deuil.
Ils reprennent leur danse.
[51 Leurs lamentations s'achbvent et ils se dispersent.
OrphBe cherche B apaiser les Furies et les spectres.
[
F
1
BOrphte appelle le nom de sa chbre Eurydice,
pleurant sa disparition.
Ses adjurations les calment un peu et ils lui
demandent ce qu'il cherche.
I1 invective ambrement les puissances des Enfers.
Scene 2
Le dieu de l'amour parait, lui offrant son aide.
Orphte sera autorist B ramener Eurydice du royaume
des morts, s'il parvient, avec sa musique, B apaiser les
furies et les esprits des Enfers. En revenant avec elle, il
ne doit pas se retourner pour la regarder le suivre, ni lui
expliquer son comportement.
Orphte declare que, comme les esprits des Enfers,
11est une Bme en proie B ses tourments.
Les spectres se montrent plus accommodants.
OrphCe continue de les supplier, au nom de l'amour
qu'ils ont peutdtre connu un jour.
Eil Entikrement pacifies, les spectres s'effacent et
E3 L'Amour eujoint OrphCe d'obbir B cet tdit, lui permettent B Orphte de passer les portes de leur
rappelant que ses souffrances seront temporaires et que
les amants n'ont pas toujours besoin des mots.
il$
OrphBe est fou de joie, mais pense aux difficultCs h
venir : Eurydice sera forcement surprise de son attitude
indiiBrente.
Coups de tonnerre et foudre. n part.
8.660064
royaume. Ils se dispersent.
Scene 2
La sc&nelaisse place B une campagne verdoyante,
avec des prairies parsemtes de fleurs, des charmilles et
de mtlodieux ruisseaux. Orphte est accueilli par les
htros et les htrdines antiques.
14
'
Orphee est ravi, mais I'Elysle n'est pas pour lui : @I Elle est passde de la mort 1 cette souffrance.
son paradis est Eurydice, qu'il essaie de retrouver.
Eurydice snpplie Orphte, qui h i t par cider. II se
@# Les heros et les h6rolnes louent I'exemple retoume et elle meurt.
courageux d'Orph6e.
&# Orphde pleure sa bien-airnee, morte une deuxibme
Ils dansent.
fois.
OrphCe est impatient de voir Eurydice, qui parait
alors.
Tout ce qu'il souhaite h present, c'est la suivre au
royaume d'Hadbs pour traverser le Styx ses catis.
Elle est accompagnee d'herolnes antiques et
Orphde lui prend la main, I'entratnant aussit6t B sa suite.
Scene 2
Alors qu'il est sur le point de se donner la mort,
1'Amour intervient, le d i s m a n t et ~Ccompensantson
amour et sa constance. Eurydice vivra de nouveau, et
elle ressuscite, comme si elle s'eveillait d'un profond
sommeil. 11s sont maintenant r6unis.
Acte III
Scene 1
Orphke guide Eurydice sur le chemin menant au
monde des vivants, sans jamais la regarder. Elle est
d'ahord ravie, puis troubl6e et furieuse de voir que son
Cpoux ne I'enlace pas et ne lui accorde meme pas un
regard. ll demeure imperturbable, continuant B mener
leur marche.
!B! Tous deux sont boulevers6s par cette situation
Sdne 3
Sur un signe de Cupidon, la scbne devient soudain
le temple de I'amour, oh les nymphes et les bergers
cilbhrent le retour d'Eurydice tandis qulOrphbe se joint
B leurs r6jouissances.
;
Eurydice h cause de I'apparente indii6rence de son
6poux, Orph6e par les sollicitations trop insistantes de
sa femme.
Eurydice pressent un malheor et declare qu'elle
n'est plus habitude aux tracas des vivants.
Keith Anderson
Versionfranqaise :David Ylla-Somers
Christoph Willibald Gluck (1714-1787)
Orfeo ed Euridice
Dl Overtura
[il Overture
ATTO P R I M 0
Scena I
Arrrerro, rrra solitario bosclretto di allori e cipressi, clre,
ad arte diradato, rucchirrde in lrrr piccolo piano la
tarrrba di Errridice.
All'alzar della terrda, a1 srrorro di ~rrestasirforria, si
sede occrrpata la sceno da roro strrolo di Pastori e Nirfe,
segrraci di Orfeo, clre portorlo serti difiori e glrirlarrde
di s~irto;e, rrrerrtre srm parte di low arder fa de'
profrrrni, incorvrta il rimrrno e spargefiori i ~ ~ t o n alla
ro
torrrba, irrtsorm I'altro il Segrrer~tecoro, interrotto dai
lanrerrti di Orfeo, clre, disteso slrl dalonti sopra di rrrr
sasso va di terrrpo in rerr~po replicarrdo
appassior~atarrrer~te
il rro!ire di Errridice.
ACT I
Scene I
A pleasarrt brrt larrel),grow of Irno'el ar~dc)press tlrat
,
encloses, irr a clearbrg, tlre torizb of Ertrydice, on a
wised dais.
As t11e crrrtairr rises and sod rrrssic is heard, the
stage is revealed, occrrpied by a gmrrp of sl~epherds
arrd rryrr~phs,
folloi~~ers
of Orpherrs, it'lro carry ~ ~ r e a t l ~ s
offoisers arrd garlands of rr~yrtle;and, it'lrile sorrie of
tlrerrr brrrr~incense, place garlands or1 tlre rizurble tonrb
ar~d scatter f[o~vers over it, tlre otlrers sirrg the
folloiidr~g chorrrs, ir~terrlrpted 0)' the Iarrrerrrs of
Orpl~ess,nho, stretched orrt on a rock, fro111 tinre to
tirire passiormtely repeats tlre rrarrre of Eroydice.
Coro
Ah! se intolno a quest'urna funesta,
Euridice, ombra bella, t'aggiri,
Chorus
Ah, if about this sad urn,
Eurydice, fair shade, you wander,
Orfeo
Euridice!
Orpheus
Eurydice!
Coro
Odi i piaoti, i lamenti, i sospiri
Che dolenti si spargon per te.
Chorus
hear our plaints, laments, sighs,
that grieving we pour out for you.
Orfeo
Euridice!
Orpheus
Eurydice!
Coro
Ed ascolta il tuo sposo infelice
Che piangendo ti chiama e si lagna;
Chorus
And listen to your unhappy husband,
who weeping calls to you and complains.
Orfeo
Euridice!
Orpheus
Eurydice!
Chorus
As when the loving turtle-dove
lost her sweet companion.
Come quando la dolce compagna
Tortorella amorosa perdb.
[31 Recitativo
@I Recitative
Orpheus
Enough, enough, my companions!
Your grief makes mine the worse!
Scatter purple flowers,
garland the marble tomb,
leave me!
I would remain alone
among these funereal dark shades
with the merciless company of my misfortunes!
Orfen
Basta, basta, o compagni!
I1 vostro duolo aggrava il mio!
Spargete purpurei fiori.
Inghirlandate il marmo,
Partitevi dame!
Restar vogl'io solo
Fra quest'ombre funebri e oscure
Coll'empia compagnia di mie sventure!
[41 Ballo
I41 Ballet
[51 Cnru
Ah! se intorno a quest'uma funesta
Euridice, ombra bella, t'aggiri,
Odi i pianti, i lamenti, i sospiri,
Che dolenti si spargou per te.
Q Chorus
Ah, if about this sad urn,
Eurydice, fair shade, you wander,
hear our plaints, laments, sighs,
that grieving we pour out for you.
Aria
161
(Tlrefie~eraldances cease. Tl~e).all lea~~e.)
Orfeo
Chiamo il mio ben cosi
Quando si mostra il di,
Quando s'asconde!
Ma, oh vano mio doloi !
L'Idol del mio cor
Nou mi risponde.
LII Recitativo
Euridice! Euridice!
Ombra cara, ove sei?
Piange il tuo sposo,
Ti domanda agli Dei
A' mortali ti chiede
E sparse a' venti
17
Aria
Orpheus
So do I call my beloved
when day appears,
when it hides itself!
But, oh, vain is my sorrow!
The Idol of my heart
answers me not.
Ifl
Recitative
Eurydice! Eurydice!
Dear shade, where are you7
Your husband weeps,
demands you of the Gods,
seeks you among mortals,
and scattered to the winds
8.660064
are his tears,
his laments!
Son le lagrime sue,
I suoi lamenti!
Aria
Cerco 11mio ben cosi
In queste, ove mod,
Funeste sponde.
Ma sola al mio dolor,
Perch6 conobbe amor,
L'eco risponde.
L8] Aria
191
Recitativo
Euridice! Euridice!
Ah, quest0 nome
san le spiaggie, e le selve
I'appresero da me!
In ogni valle
Euridice risuona:
in ogni tronco
scrisse il miser0 Orfeo:
Orfeo infelice,
Euridice, Idol mio,
Cara Euridice!
191
Recitative
Eurydice! Eurydice!
Ah, this name
the sea-shore knows, and the woods
learned from me!
In every valley
the name Eurydice resounds:
on every tree
wretched Orpheus has written:
Unhappy Orpheus,
Eurydice, my Idol,
dear Eurydice!
rn
Aria
Piango il mio ben cosi,
Se il sole indora il di,
Se va nell'onde.
Pietoso al pianto mio
Va mormorando il rio
E mi risponde.
rn
Aria
So do I weep for my beloved,
if the sun gilds the day,
if it sinks down in the sea.
Pitying my complaint
the river murmurs on
and answers me.
[iil Recitativo
Orfeo
Numi! barbari Numi!
D'Achemnte e &Averno pallido abitator,
La di cui mano avida delle morti
Mai disarmb, mai trattener
Non seppe beltti ne gioventil,
Voi mi rapiste la mia hella Euridice Oh memoria crudel! - sul fior degli anni!
La rivoglio da voi, Numi Tiranni!
8.660064
So I seek my beloved,
where she died, on these
sad shores,
but to my sorrow,
because she knew love,
only Echo replies.
Recitative
Orpheus
Gods! Cruel Gods!
Pale dweller of Acheron and Avernus,
whose hand, greedy for death,
was never held back, never restrained
by beauty nor by youth,
you have seized from me my fair Eulydice oh cruel memory! -in the flower of her years!
I want her back again from you, tyrant Gods!
18
Ho core anch'io per ricercar
Sull'orme de' pih intrepidi Eroi,
Nel vostro orrore la mia sposa,
n mio ben!
I too have the heart to seek her
in the footsteps of the bravest heroes
in your dreadful realm, my wife,
my beloved!
Scena II
Anlore e deffo.
Scene I[
Love arrd the aforesaid
Recitative
Amore
T'assiste Amore!
Orfeo, della tua pena
Giove sente pieti%.
Ti si concede le pigre
Onde di Lete vivo varcar!
Del teuebroso abisso sei sulla via:
Se placar puoi col canto le furie,
I mostri, e l'empia morte,
A1 giorno la diietta Euridice
Far&teco ritomo.
Love
Love will help you!
Orpheus, for your pain
Jove feels pity.
He allows you the sluggish
waves of Lethe to cross alive!
You are on your way to the dark abyss:
if you can placate with song the furies,
monsters and merciless death,
to the daylight again your beloved Eurydice
wiU return with you.
Orfeo
Ah come? Ah, quando?
E possihil sari%?
Spiegati!
Ah how? Ah when?
Is this possible?
Explain!
Amore
Avrai valor che basti
A questa prova estrema?
Love
Do you have courage enough
for this extreme test?
Orfeo
Mi prometti Euridice,
E woi ch'io tema?
Orpheus
You promise me Eurydice,
and you want me to be afraid?
Amore
Sai perd con qua1 patto
L'impresa hai da compir.
Love
Know, then, on what condition
you must carry out this enterprise.
Orfeo
Farla!
Orpheus
Speak!
Orpheus
Amore
Euridice ti si vieta il mirar
Finchi: non sei fuor dagli antri di Stige!
E il gran divieto rivelarle nou dei!
Se no, la perdi e di nuovo e per sempre;
E in abbandono al tuo fiero desio
Sventurato vivrai!
Pensaci, addio!
ijl Aria
Amore
Gli sguardi trattieni,
Affrena gli accenti,
Rammenta se peni,
Che pochi momeuti
Hai pih da penar!
Non sai che talora
Smaniti, tremanti
Con chi gl'imamora
Son ciechi gli amanti,
Non sanuo parlar.
(parte)
lI4! Recitative
O rfen
Che disse? che ascoltai?
Dunque Euridice vivri,
L'avri, presente!
E dopa i tanti affanni miei,
In quel momento,
In quelia guerra d'affetti,
lo non dovri, mirarla,
Non stringerla al mio sen!
Sposa infeEce!
Che diri mai? che penseri?
Preveggo le smanie sue,
Comprendo I'augustie mie!
Nel figurarlo solo
Sento gelarmi il sdngue,
Tremarmi 11 cor!
Ma lo potri,! Lo voglio!
8.660064
Love
It is forbidden you to look at Eurydice,
until you are outside the Stygian caves!
And you must not reveal to her this great prohibition!
If not, you lose her again for ever;
and abandoned to your fierce desire
you shall live unfortunate!
Think on this, farewell!
Aria
Love
Restrain your looks,
rein back your words,
remember if you suffer,
you have only a few moments
more to suffer!
You do not know that sometimes
lovers are blind,
bewildered, trembling,
with those they love
and know not how to speak.
(He lea~*es.)
I@!Recitative
Orpheus
What did he say? What did I hear?
That Euwdice shall live.
I shall h&e her here again!
And after such sufferings,
in that moment,
in that war of feelings,
I must not look at her,
must not clasp her to my bosom!
Unhappy wife!
What will she say? What will she think?
I foresee her agitation,
I understand @own distress!
Only imagining it
I feel my blood freeze,
my heaa tremble!
But I can do it! I will!
I have decided! The greatest,
most unbearable of evils is to be deprived
of the single object beloved of the soul.
Help me, 0 Gods, I accept your ling.
Ho risoluto! I1 grande,
L'insofiiibil de' mali b I'esser privo
Dell'unico dell'alma amato oggetto.
Assistetemi, o Dei, la legge accetto.
(Si vede un lampo, si sente rift htono,
e parte Orfeo)
Scena I
Orride cave~nedi Id delfl~tmeCocito, o@scato poi in
loiztariar~zada un tenebroso fi111t0, illztminato dalle
jiarnrne clte ingoinbrarto tutta quella orrida abitazione.
Apperta carigiata la scena, a1 suorto di orribile
siizfonia cornincia il ballo delle Furie e pettri, clie viene
interrofto dalle armorzie della lira d'Orfeo: il quale
comparertdo poi stilla scena, httta quella htrba
inferrtale inhtoiza il seguente.
Ballo
Ei Coro
E' (There is aflnsli of lighti~irigand the sound
of thunder,and Orpheus lea~pes.)
Scene I
Terrible caverrts beyorid Be river Coc~~tlts,
darkened ill
the distance by thick smoke, lit by theflames thntfill all
that terrible dn'ellir~g.
Hardly has the scene chaiiged, when, to the sound
of terror-inspirirtg niltsic, the ballet of the Furies and
Ghasts begins, interiupted by the nzzrsic of the lyre of
Orphetis: as he appears 011 tlte stage, the cvhole
irzferrial troupe sirigs the follon~iiig:
B
Ballet
@iChorus
Who through the darkness
of Erebus,
ever follows the footsteps
of Hercules
and of Pirithous?
Chi mai dell'Erebo
Fra le caligini,
Sull'orme d'Ercole
E di Piritoo
Conduce il pib?
I
Ballo
rn
I
I
Chorus
Coro
Chi mai deU'Erebo
Fra le caligini,
Sull'ome d'Ercole
E di Piiitoo
Conduce il piC?
D'orror l'ingombrino
Le fiere Eumenidi,
E lo spaventino
Gli urli di Cerbero,
Se uu Dio non b.
21
Ballet
Who through the darkness
of Erebus,
ever follows the footsteps
of Hercules
and of Pirithous?
May the fierce Eumenides
envelop him in tenor
and the cries of Cerbems
terrify him,
if he is not a God.
(Gli Speftri ripigliano le daaze,
girando intorno ad O~feo
per spase~e,ttnrlo.)
(The Ghosts dance again,
circling arorrnd Orpherrs to terrifi him.)
@
BalletI
Orfeo
Deh! placatevi con me.
Furie! Larve! Ombre sdegnose!
Orpheus
Ah! Be Still.
Furies! Spirits! Angry shades!
Coro
No! ...No! ...No!
Chorus
No! ...No! ...No!
Orfeo
Vi renda almen pietose
I1 mio barbaro dolor.
Orpheus
Have pity at least
on my cruel sorrow.
Coro
(raddolcito e con espressiorre di qrralcl~e
co~npatimento)
Misero giovine!
Che vuoi, che mediti?
Altm non abita
Che lutto e gemito
In queste orribili
Soglie funeste!
[i31 Aria
H Chorus
(moll@ed and with espressio~rofsor~iepi@)
Wretched young man!
What do you want, what are you thinking off
No other lives here
than mourning and weeping
in these terrible
gloomy regions!
E l Aria
Orfea
Mille pene, ombre moleste,
Come voi soppoao anch'io;
Ho con me I'infemo mio,
Me lo sento in mezzo a1 cor.
Orpheus
A thousand pains, angry shades,
like you I also suffer;
I have my own hell within me
and feel it in my very heart.
Coro
(COII
lnaggior dolceun)
Ah quale incognito
Affetto flebile,
Dolce a sospendere
Vien l'implacabile
Nostro furor?
Chorus
(furthermollifed)
Ah what unknown
feeling plaintive
comes gently
to take away
our implacable anger?
@3 Aria
Orfeo
Men tiranne, ah! voi sareste
A1 mio pianto, a1 mio lamento,
Se provaste un' sol mornento
Cosa sia languir d'amor!
Coro
(seruprepi2 raddolcito)
Ah quale incognito
Affetto flebile,
Dolce a sospendere
Vien I'implacahile
Nostro furor?
Le porte stridano
Su i neri cardini
E il passo lascino
Sicuro e libero
A1 vincitor!
@3 Aria
Orpheus
Ah less cruel you would be
at my plaint, my lament,
if you experienced for only a moment
what it is to languish for love!
@3 Chorus
(ever more gerztl)')
Ah what unknown
feeling plaintive
comes gently
to take away
our implacable anger?
Let the gates creak
on their black hinges
and leave the way
secure and free
to the conqueror!
Co~ninciano a ritirarsi le Furie ed i Mostri, e T l ~ Furies
e
and Monsters start to ndtltdran~,o ~ t das tlze),
dileg~rar~dosiper
errtro le scene, ripetono l'irltirrm strofa leave the stage, !/ley repeat the last verse of tlie cl~ortrs,
del coro, clze cor~tintta~~do
senzpre frattanto, clze si that co~rtinuesin the ~~tea~rtir~te,
as tlzey nzove into the
allo~itanatro,fi,liscehz ra1 co~rfrrsoetor~~rorio.
Sparite le distar~cerrr~dends in a co~qifirsednlirrnnir. 1Vlte11the
Arrie, sgon~bratii Mostri Orfeo s'aia~zza~tell'ir~$er~zo. Furies and Mor~sters11aia gone, Orpheus ad~~ances
h t o Hades.
Scena 11
Paesnggio delizioso per i boschetti clte verdeggirn~o,i
fiori.. che rivestono i nmti. i ritiri ontbrosi clze 11; si
scrropro~~o,
ijiirnzi ed rrrscelli clte lo bag~~mto.
Orjeo,
e hidi Coro di Eroi ed Eroine, poi Ellridice.
.
Scene U
A delightfrrl corottryside, ~8itl1i~erdarrtgroses,floluers
colarit~g tlte ~ ~ ~ e a dshady
o t ~ ~arboirrs,
,
rivers and
brooks. Orpheirs, arfd then a Cl~orirsof Heroes and
Heroines, tl~enErr~ydice.
Ballet
@$ Aria
Orfeo
Che poro ciel, che chiaro sol,
Che nuova serena luce B questa mai!
Che dolce lusinghiera armonia
23
iZJAria
Orpheus
How pure the sky, how bright the sun,
how new and serene this light!
What sweet gratifying harmony
8.660064
Formano insieme
I1 cantar degli augelli,
I1 cori-er de' mscelli,
Dell'aure il sussurrar.
Questo b il soggiomo
De' fortunati Eroi!
Qui tutto spira
Un tranquillo contento,
Ma non per me.
Se I'idol mio non trovo,
Sperar no1 posso!
I suoi soavi accenti,
Gli amorosi suoi sguardi,
I1 suo be1 riso,
Sono il mio solo,
I1 mio diletto Eliso.
Ma in qua1 parte sari?
(grrardarrdo per la Scesa)
Cbiedasi a questo
Cbe mi viene a incontrar, stuolo felice.
(irroltrarrdosiverso il Coro)
Euridice dov'b?
are brought together by
the singing of the birds,
the mnning of the brooks,
the murmur of the breezes.
This is the dwelling-place
of fortunate Heroes!
Here all breathes
a tranquil contentment,
but not for me.
If I do not find my idol,
I can have no hope!
Her gentle words,
her loving looks,
her fair smile,
are mine alone,
my own beloved Elysium.
But where will she be?
(lookbrg arorrnd)
Let me ask this happy band
that comes to meet me.
(trrrrrirrg to the cho1.11~)
Where is Eurydice?
Coro
Giunge Euridice.
Chorus
Eurydice is coming.
Coro
Vieni a' regni del riposo,
Grand' eroe, tenero sposo
Raro esempio in ogni eti!
Euridice Amor ti rende,
G i i risorge, gii riprende
La primiera sua belti.
(segue il ballo degli Eroi)
Chorus
Come to the realms of repose,
great hero, tender husband
rare example in every age!
Love gives you back Eurydice,
already she recovers, assumes again
her first beauty.
(Tlrerefollo~vsL e ballet of tlre Heroes.)
Ballo
Ballet
!3l Recitativo
Orfeo
Arririte a~?arrtrirose,
Ah, tollerctre in pace
le inrpazieitze rnie!
8.660064
Recitative
Orpheus
Brave spirits,
ah, bear in peace
my impatience!
Se foste amanti,
Conoscerete a prova
Quel focoso desio,
che mi torments,
che per tutto B con me.
Nemmeno in questo
Placido albergo
Esser poss'io felice,
Se non trovo il mio bene.
If you were lovers,
you yourselves would know
that burning desire,
that torments me,
that is always with me.
Not even in this
calm resting-place
can I be happy,
if I do not find my beloved.
Coro
Ecce Euridice!
Chorus
Here is Eurydice!
Coro
Toma, o bella, al tuo consorte,
Che non vuol che pih diviso
Sia da te, pietoso il ciel.
Non lagnarti di tua sorte,
Che pub dirsi un altro Eliso
Uno sposo si fedel.
€3Z Chorus
Turn, 0 fair one, to your husband,
Merciful heaven no longer
wishes you to be parted from him.
Do not lament your lot,
for a husband so faithful,
may be descibed as another Elysium,
Da zrrr coro di Eroirre ,lien caridotta Ertridice vicino ad
Orfeu, il quale, serrza grrardarla e coiz mr atto di sorrrrrla
prenrura, la prerzde per rrmno e la coriduce srrbito via.
Segrrita poi il balla degli Eroi ed Eruirre, e si ripiglia il
carrto del Cora slrpposto corrtbrrrarsifino a tanto che
Orfeo ed Errridice sorro affattafrrora dagli Elisi.
Errrydice is led to Orpheas by a clrorrrs of Heroirres.
He, n~iflrorrtlookirrg at her and wit11tlre greatest haste,
takes her hand and leads her quickly anray. Tlre ballet
of the Heroes and Heroines follo~r,sarid the sorrg of the
clrarrrs corrtirrlres rrrztil Orplrerrs and Errrydice are
corrrpletel)~orit of E1)~sirrnr.
ATTO TERZO
Scena I
Osc~rra spelonca, che forrrra rrrr tortrrosa Iaberirrto
irrgo~rrbratodi n~assistaccati dalle rrrpi, clre sorro trrtti
coperti di sterpi e dipiarrte seliraggie. O$ea ed Ertridice.
ACT 111
Scene I
A dark care, tlrat fonr~s a hvistirrg labyrirrtlr,
errc~rnrberedisith oritcrops of rock, co~~eredwith
brrtsh~toodand wildplants. Orplrerrs and Eirrydice.
Recitativo
Orfeo
(ad Errridice, che cortdzrce per nrarro,
serrrpre serrza guardarln)
Vieni: segui i miei passi,
Unico, amato oggetto
Del fedele amor mio!
25
E131 Recitative
Orpheus
(to Errrydice, lorn he leads by the horrd,
ahtaays ~vitlrorrtlookirrg o f her)
Come: follow my steps,
sole, beloved object
of my faithful love!
8.660064
Euridice
(con sorpresn)
Sei tu! M'inganno?
Sogno? Veglio? 0 deliro?
Euridice
(xdtl~srrrprise)
Is it you! Am I deceived?
Do I dream? Do I wake? Or do l rave?
Orfeo
(cor~j?ettaJ
Amata sposa,
Orfeo son io, e viva ancor!
Ti venni fin negli Elisi a ricercar.
Fra poco il nostro cielo,
I1 nostro sole, il mondo
Di be1 nuovo vedrai!
Orpheus
(111rrriedlj~)
Beloved wife,
I am Orpheus, and I am still alive!
I came to seek you out again in Elysium.
Soon shall you see again
our sky, our sun,
the world.
Euridice
(sospesn)
Tu vivi? 10 vivo?
Come? Ma con qua1 m e ?
Ma per qua1 via?
Eurydice
(crrrrio11s)
You are alive? I live?
How? But by what artfulness?
By what means?
Orfeo
Saprai tutto da me.
Per ora non chieder pih!
Meco t'affretta,
E il vauo importuno
Timor dall'alma sgombra!
Ombra tu pih non sei,
Io non son ombra.
Orpheus
You will learn it all from me,
Now do not ask more!
Huny with me,
and have vain importunate
fear vanish from your soul!
You are not a shade any more,
I am not a shade.
Euridice
Che ascolto! E sari ver?
Pietosi Numi
Qual contento B mai questo!
Io dunque in braccio all'idol mio
Fra' pih soavi lacci
D'Amore e d'lmeneo
Nuova vita vivrb!
Eurydice
What do I bear! Is it true?
Merciful Gods
what contentment is this!
In the arms of my idol
amid the gentle snares
of Love and Hymen
shall I live a new life!
Orfeo
Si, mi speranza!
Ma tronchiam le dimore,
Ma seguiamo il cammin.
Tanto b cmdele la fortuna con me,
Orpheus
Yes, my hope!
But let us not delay.
But let us follow the way.
So cruel has been my fortune
8.660064
Che appena io credo di pussederti,
Appena sb dar fede a me stesso.
that I hardly believe I have you,
I hardly trust myself.
Euridice
(mesta e risentita,
ritirando lo mano & Orfeo)
E un dolce sfogo del tenero amor mio
Nel prim0 istante che tu ritrovi me,
Ch'io ti riveggo
T'annoja, Orfeo!
Eurydice
(sad and offended,
withdrawing her handfrom Orpheus)
And a gentle expression of my tender love
in the first moment that you fmd me again,
that I see you again,
irritates you, Orpheus!
Orfeo
Ah, non t ver, ma..
Sappi.. .senti..
(Oh legge crudel!)
Bella Euridice,
Inoltra i passi tuoi!
Orpheus
Ah, it is not true, but ...
I want you to know ...listen!...
(Oh cruel ruling!)
Fair Eurydice,
hasten your steps!
.
b
n
.
Euridice
Che mai t'affanna
In si lieto momento?
Eurydice
What womes you
at such a happy moment?
Orfeo
(Che dim?
Lo preveddi!
Ecco il cimento!)
Orpheus
(What shall I say?
I foresaw it!
This is my trial!)
Euridice
Non m'abbracci? Non parli?
Guardami almen.
(tirandolo, perch2 lo guardi)
Dimrni, son bella ancora,
Qual era un dl?
Vedi, che forse t spento
I1 mseo del mio volto?
Odi, che forse s'oscurb
Quel che amasti,
E soave chiamasti,
Splendor de'sguardi miei?
Eurydice
You do not embrace me? Not speak to me?
Look at me, at least.
(pulling him, to make him look at her)
Tell me, am I still beautiful
as I once was?
See, has perhaps the rosy colour
gone from my face?
Listen, has that which you loved
and called sweet,
the splendour of my glances?
Been dimmed?
Orfeo
(Pia che l'ascolto,
Men0 resisto.
Orpheus
(The more I listen,
the less I resist.
Orfeo, coraggio!)
Andiamo, mia diletta Euridice!
Or non 1: tempo
Di queste tenerezze,
Ogni dimora 6 fatale per noi.
Orpheus, have courage!)
Let us go, my beloved Eurydice!
Now is not the time
for these acts of tenderness,
every delay is fatal for us.
Euridice
Ma ... un guardo solo!..
Eurydice
But ... only alook! ...
Orfeo
E sventura il mirarti.
Orpheus
It is unlucky to look at you.
Euridice
Ah! infido!
E queste son le accoglienze tue!
Mi nieghi uu sguardo,
Quando dal car0 amante
E dal tenero sposo
Aspettarmi io dovea
Gli amplessi e i haci!
Eurydice
Ah! Faithless!
And this is your welcome!
You deny me a look,
when from my dear lover,
and tender husband
I should expect
embraces and kisses!
Orfeo
(Che harbaro martir!)
Ma vieni e taci!
(Sentendola l'icirta prerlde la stra rrmrlo
e vrcal condrw1o.j
Orpheus
(What cruel torment!)
But come and be silent!
(Feeling her near hbrt he takes her
harld arrd tries to lead her.)
Euridice
(ritira la rrmrro corr sdegno)
Ch'io taccia! E questo ancora
Mi restava a soffrir?
Dunque hai perduto
La memoria, I'amore,
La costanza, la fede?
E a che svegliarmi del mio dolce riposo
Or ch'hai pur spente
Quelle a entrambi si care d'Amore
e d'lmeneo pudiche faci!
Rispondi, traditor!
Eurydice
(disdairy'irll~~
~t'itlrdmn'ingher harrd)
I must he silent!
And I came back to suffer this?
Have you lost
memory, love,
constancy, faith?
For what did I waken from my sweet repose
since you have extinguished
those chaste torches so dear
to Love and to Hymen!
Reply, betrayer!
Orfeo
Ma vieni, e taci!
Orpheus
But come, and be silent!
Duetto
Duet
Orfeo
Vieni: appaga il tuo consorte.
Orpheus
Come: do as your husband wants.
Euridice
No: pih cara B a me la mofle,
che di vivere con te!
Eurydice
No: dearer to me is death
than to live with you!
Orfeo
Ah crudel!
Orpheus
Ah, cruel!
Euridice
Lasciami in pace!
Eurydice
Leave me in peace!
Orfeo
No, mia vita, omhra seguace
Verd sempre intorno a te!
Orpheus
No, my life, a shadow
always shall I follow you!
Euridice
Ma perch6 sei si tiranno?
Eurydice
But why are you so tyrannical?
Orfeo
Ben potrb morir d'affanno,
Ma giammai dirb perchi.
Orpheus
I could well die of anxiety
but never will I say why.
Orfeo ed Euridice
Grande, o Numi, B il dono vostro!
Lo conosco e gratolgrata io sono!
Mail dolor, che unite a1 dono,
h insoftiibileper me!
Orpheus and Eurydice
Great, 0 Gods, is your gift!
I know it and I am thankful!
But the grief that goes with the gift
is unbearable for me!
(Nel terminare il duetto, ambedue, ciascuno
dalla sua parte, si appoggiano ad rcn olbero.)
(At the end of the duet, each offhen,
leans against a tree.)
El Recitative
Euridice
Qua1 vita B questa mai,
Che a vivere incomincio!
E qua1 fnnesto,
Tembile segreto
Orfeo m'asconde!
29
Eurydice
What life is this
that I begin to live!
And what dreadful,
temble secret
is Orpheus hiding from me!
Perchb piange, e s'afflige?
Ah, non ancora troppo
Avvezza agli affanni,
Che soffrono i viventi,
A si gran colpo
Manca la mia costanza;
Agli occhi miei
Si smanisce la luce,
Oppresso in seno,
Mi diventa affannoso il respirar.
Tremo, vacillo, e sento
Fra l'angoscia e il terrore,
Da un palpito crude1 vibrarmi il core.
@j Aria
Why does he weep and grieve?
Ah, I am still too
unaccustomed to the troubles
that the living suffer,
at such a blow
my constancy fails;
before my eyes
the light grows dim,
weighed down in my bosom
my breathing is troubled.
I tremble, I hesitate, and feel
in deep anxiety and terror
the cruel beating of my heart.
lB Aria
Euridice
Che fiero momento!
Che barbara sorte!
Passar dalla morte
A tanto dolor!
Eurydice
What a cruel moment!
What harsh fate!
To pass from death
to such sorrow!
Avvezza a1 contento
D'un placido oblio,
Fra queste tempeste
S i perde il mio cor.
Accustomed to the contentment
of peaceful oblivion,
amid these storms
my heart is lost.
Vacillo, tremo.. .
I hesitate, I tremble ...
Recitative
Orfeo
ECCOun nuovo tormento!
Orpheus
Here is a new torment!
Euridice
Amato sposo,
M'abbandoni cosi?
Mi struggo in pianto;
Non mi consoli?
11 duo1 m'opprime i sensi,
Non mi socconi?
Un'altra volta, oh stelle,
Dunqne morir degg'io,
Eurydice
Beloved husband,
do yon abandon me so?
I am distraught with weeping;
will yon not comfort me?
Grief weighs down on my senses,
will yon not help me?
0 stars, once again
must I die
8.660064
Senea un amplesso tuo,
Senza un addio!
Orfeo
Pih frenarmi non posso.
A poco a poco
La ragion m'abbandona,
Oblio la legge,
Euridice, a me stesso! E...
(in alto di ~altarsie poi perftito)
without your embrace,
without a farewell!
Orpheus
I can restrain myself no longer.
Little by little
reason deserts me,
I forget the ruling,
Eurydice, and myself! And.. .
(oborrt to trmr routrd arrd tlren clrarrgbrg his eriad)
Euridice
Orfeo, consorte!.
Ah ... mi sento... languir!
(si getto a sedere sopra rrrr sasso)
Eurydice
Orpbeus, husband!
Ah.. .I feel myself. ..languishing!
(she sits dolvrr 011 a stone)
Orfeu
No, sposa! Ascolta!
(irr atto di ~loltarsia goardarla)
Se sapessi ...
Ah, che fb?
Ma fino a quando
In questo orrido inferno
Dovrb penar?
Orpheus
No, wife! Listen!
(about to trrrrr aird look at her)
I f you knew ...
Ah, what am I doing?
But how long
in this terrible Hell
must I suffer?
Euridice
Ben mio, ricordati.. .di...me!
Eurydice
My beloved, remember. ..me!
Orfeo
Che affanno! Oh come
Mi si lacera il cor!
Pih non resist0 ...
Smanio.. .fremo...delirio.. .
(si wlta corr inrpeta e la grcarda)
Ah! mio tesoro!
Orpheus
What torment! Oh how
my heart is torn apart!
I can resist no more. ..
I rave. ..I shake. ..I am delirious. ..
(he turris inipetrwusly and looks at her)
Ah! My treasure!
Euridice
Giusti De, che m'avvenne?
(alzondosi con forza e torrrarrdo n cadere)
lo manco, io moro.
(mrrare)
Eurydice
Just Gods, what has happened to me?
(rising abrtrpfly, then trrrriirrg to falo
I am slipping away, I die.
(SIze dies.)
Orpheus
Alas! What have 1 done,
where has the madness of love
driven me?
(He Inrrries to her. side.)
Wife! ...Euriydice! ...
(He slrakes Irer.)
Eurydice! Consort!
Ah, she lives no more,
I call on her in vain!
Wretched that I am!
I have lost her, again and for ever!
Oh ruling! Oh death!
Oh cruel memory!
I have no help,
there is no counsel for me!
I see alone (Ah - cruel sight!)
the mournful view
of my terrible position!
Be contented, evil fate!
I am in despair!
Orfeo
Ahimb! Dove trascorsi,
Dove mi spinse
Un delirio d'amor?
(Le s'accosm corrfietta.)
Sposa! ... Euridice! ...
(La scrrote.)
Euridice! Consorte!
Ah pih non vive,
La chiamo invan!
Misero me!
La perdo, e di nuovo e per sempre!
Oh Legge! Oh morte!
Oh ricordo crudel!
Non ho soccorso,
Non m'avanza consiglio!
10 veggo solo (Ah - fiera vista!)
U luttuoso aspetto
Dell'orrido mio stato!
Saziati, sorte rea!
Son disperato!
LQ Aria
Che fa16 senza Euridice?
Dove andrb senza il mio ben?
Euridice! Euridice!
Oh Dio! Rispondi!
10 son pure il tuo fedel!
Euridice! Euridice!
Ah non m'avanza
Piii soccorso, pi8 speranza,
NC dal mondo, nC dal ciel!
Che farb senza Euridice?
Dove andrb senza il mio ben?
&
Recitativo
l
Orfeo
Ah finisca, e per sempre,
Colla vita il dolor!
Del nero Averno
Gih sono insh la via!
Lungo cammino non B
8.660064
El
Aria
What shall I do without Eurydice?
Where shall I go without my beloved?
Eurydice! Eurydice!
0 God! Reply!
I am still faithful to you!
Eurydice! Eurydice!
Ah there is no one left to help me,
no hope,
neither in the world nor in heaven!
What shall I do without Eurydice?
Where shall I go without my beloved?
Recitative
Orpheus
Ah, now for ever may grief
end my life!
To black Avernus
I am already on the way!
It is not a long road
Quel che divide il mio belie da me.
Si. aspetta, o cara onihra dell'Idol nlio!
Aspetta, aspetta!
No, questa volta senza lo sposo tuo
Non vacherai I'onde lente di Stige!
(~'r~ol
ferirsi)
that divides my beloved from me.
Yes, watt, 0 dew shade of my Idol!
Wait, wait!
No, this time not without your husband
will you cmss the slow waters of the Styxl
(He tries to kill Iri~ttself.)
Scena I1
A~rforee rletti.
Scene I1
Love and the aforesaid
Amure (lo rlisrrrnm)
Orfeo, che fai?
Love (disarnts him)
Orpheus, what are you doing?
Orfeo (con irrrpetu efrroi-i rli s i )
E chi sei tu,
Che trattenere ardisci
Le dovute a' miei casi
Ultime furie mie?
attrl beside 11buelf)
Orpheus (b~lpettrotrsly
And who are you,
who dare to hold back
my last fury,
due to my misfortune?
Amore
Questo furore calma,
Deponi e riconosci Amore!
Love
Calm this fury
Lay down your weapon and recognise Love!
Orfeo
Ah sei tu? Ti ravviso!
I1 duo1 finora tutti i sensi rn'oppresse.
Ah che venisti
In si fiero momento?
Che vuoi &a me?
Amore
Farti felice!
Assai per gloria mia soffristi, Orfeo,
Ti rendo Euridice il tuo ben.
Di tua costanza magginr prova non chiedo.
Ecco risorge
A riunirsi con te.
(Si alza Eftridice, co111esvegliandosi da irrt profortdo
.~011110)
Orpheus
Ah, is it you? I see you again!
Up to now all my senses have been
overwhelmed with grief.
Ah why have you come
at so cruel a moment?
What would you with me?
hve
To make you happy!
Enough have you suffered, Orpheus, for my gloq,
I give you back Eurydice, your beloved.
I ask no greater proof of your constancy.
See, she rises
to join again with you.
(Eurjdice rises, as ifwakingfront a deep sleep.)
Che veggo! Oh Numi!
Sposa!
(con sorpresa, e corre ad abbracciare Elo.idice)
Orpheus
What do I see! Oh Gods!
My wife!
(Asto~lisl~ed,
he rlrrrs to eslbrace Elrrydice.)
Euridiee
Consorte!
Eurydice
Husband!
Orfeo
E pur t'abhraccio?
Orpheus
And may I now embrace you?
Euridice
E pure al sen ti stringo!
Eurydice
May I hold you to my bosom!
Orfeo (ad Anlore)
Ah, quale riconoscenza mia ...
Orpheus (to Love)
Ah, how grateful I am ...
Amore
Basta!
Venite, avventurosi amanti
Usciamo al mondo,
Ritomate a godere!
Love
Enough!
Come, happy lovers
let us go to the upper world,
return to delight in it!
Orfeo
Oh fausto giorno,
Oh Amor pietoso!
Orpheus
0 lucky day,
0 compassionate Love!
Euridice
Oh lieto, fortunato momento!
Eurydice
0 happy, fortunate moment!
Amore
Compensa mille pene
Un mio contento!
(parlono)
Love
My contentment
compensates a thousand sufferings!
(Tlzey leala)
(ad rol
(At a signj?or~lLove tile scene cllanges.)
C ~ I I I I di
O
Antore si canrbia la scena)
,
,
Scena UI
Mag~lificoTe~npiodedicato ad Amore. Anlore, Orfeo ed
Ecrridice,precedrrti da rrrrrrleroso drappello di Pastori e
Pastorelle che v e ~ ~ g o aao festeggiare il ritorr~o
d'Euridice e con~ir~ciai~do
1rn allegro ballo, che
s'i~iterror~zpe
da Orfea, che bltrror~ail segriente coro.
Scene 111
A it~agnifice~rt
ternple dedicated to Love. Love, Orpheris
and Errrydice, preceded by a tlzrong of sltepherds and
sl~epherdesses, co111e to celebrate the ret1n.11 of
Ectrydice. They start a joyjitl ballet, ir~terrcrptedby
Orpl~errs,as tl~eysing.
'&fJ Ort'eo
Trionfi Amore,
E il mondo intero
Serva all'impero
Della beltb.
'&fJ Orpheus
May Love triumph
and the whole wvorld
serve the empire
of beauty.
Di sua catena
Talvolta amara
Mai fu pih cara
La liberti.
Never was dearer
the f~eedom
of her sometimes
harsh bonds.
Coro
Trionfi Amore,
E ii mondo intero
Serva all'impero
Della beltb.
Chorus
May Love triumph
and the whole world
serve the empire
of beauty.
Amore
Talor dispera,
Talvolta affanna
D'una tirama,
La crudeltl.
Love
Sometimes despair,
sometimes anxiety
the cruelty
of tyranny brings.
Ma poi la pena
Oblia L'amante
Nel dolce istante
Della pie&.
But the pain
the lover forgets
in the sweet instant
of mercy.
Coro
Trionfi Amore,
E il mondo intern
S e ~ all'impero
a
Della beltb.
Chorus
May Love triumph
and the whole world
serve the empire
of beauty.
Euridice
La gelosia
Strugge e divora;
Ma poi ristora
La fedelti.
E quel sospetto
Che il cor tormenta,
Alfin diventa
Feliciti.
Eurydice
Jealousy
destroys and devours;
but faith then
restores.
And that suspicion
that torments the heart,
in the end turns
to happiness.
Cnro
Trionfi Amore,
E il mondo intero
Serva all'impero
Della belti.
Chorus
May Love triumph
and the whole world
serve the empire
of beauty.
Englislt Version: Keith Anderson
Gluck's great achievement in the world of opera was to move music away from the formal
conventions of the period, replacing long stretches of recitative with orchestral
accompaniments, which greatly improved the dramatic flow. Gluck's command of dramatic
atmosphere, for instance in the Dance of the Furies, and of expressive vocal line, exemplified
by the opera's most famous aria, Chefar6?, is remarkable, and still has the capacity to move
and captivate the listener in this recording of the original 1762 version of Orfeo ed Euridice.
Christoph Willibald
GLUCK
(1714-1787)
Orfeo ed Euridice
Orfeo
..............................Ann-Christine Biel
Euridice
Amor
..................................Maya Boog
.................................Kerstin Avemo
Drottningholm Theatre Chorus and Orchestra
Arnold 0stman
E
l
Overture
Act1
320
Act II
20:15
19:37
Act III
23:42
Recorded live on 29th June and from 1st-3rd July, 1998 in the Dmttningholms Slottsteater, Drottningholm, Sweden
Producer: Andrew Walton (K&A Produclions) Engineer: Eleanor Thomason Booklet Notes: Keith Anderson
This recordiig has been recorded and edited at 20bit resolution
Cover Picture: Orplreus and Eurydice 1875 by EMCOScuri (1805-84).
(The Art Archive I Civiche Racc d'Arte Moderna Pavia I Dagli Orti)