Orfeo Ed Euridice

Orfeo ed Euridice by Christoph Willibald Gluck, Ranieri libretto by Calzabigi, conducted by American choreographer Karole Armitage. “Balanchine creature and punk monk”, the Armitage confronted by Gluck’s orchestral music, in the first version of the opera (Burgtheater Vienna, 1762) projection of its intrinsic duplicity. The classicist formalism of the Balanchinian tradition of which the choreographer is number and the transgressive non-conformity that allows him to break the barriers of the past says of thought, using the dance of thought and thought Vision (Merce Cunningham), are two opposites that only seem to seem the oxymoron that is characterized by its silhouette. And this is because the management of space and evolving bodies are not antithetical to the concept of melodrama direction of a choreographer as an attack against the identity of work. Of course, if the choreographer does not work, the risk is guaranteed, but this is not the case.
Massimo, Gioacchino Lanza Tomasi, Gluck’s theorem, was created in 2003 by the Neapolitan superintendent. It has always been a deserved success in an original production, where the singers are doubled by the dancers. The massive presence of the dance has made the music visible, the voices visible when the singers are silent and engage the visual sphere as the dancers move along the line of singing.
Academic language is always essential to create a free and musical style. Each aspect of the score seems “embraced” by the closed circle of song and dance. The touch of the choreographer undeniably gives starting tables, for a quick example, an idealizing aesthetic that allows the public to immerse themselves in the pain of Orpheus.

Source: GP Opera Magazine