THE HANGOVER REPORT – The Met revives Mark Morris’s inspired hybrid staging of Gluck’s ORFEO ED EURIDICE starring Anthony Roth Costanzo

Elena Villalón and Anthony Roth Costanzo in the Metropolitan Opera’s production of Gluck’s “Orfeo ed Euridice” (photo by Ken Howard).

For my final production of the Metropolitan Opera’s 2023/2024 season, I chose to show up for Gluck’s masterpiece Orfeo ed Euridice, the composer’s take on the ubiquitous ancient Greek tale about a lyre-armed hero (Orfeo) who endeavors to rescue his deceased wife (Euridice) from the underworld. Be forewarned, however, Gluck’s operatic version features a modified ending, which some may find to intrinsically contradict the DNA of the underlying myth. I personally found the change to be utterly charming — if a tad jarring — and an uplifting alternative to the more tragic original.

Mark Morris’s enchanting 2009 hybrid of a production unites Gluck’s gorgeous early opera score and Morris’s intuitive contemporary choreography. In summary, it’s a match made in heaven and, in my opinion, one of the most inspired and delightful productions in the Met’s extensive repertoire. The staging transpires in an almost timeless setting, witnessed by iconic historical figures — portrayed by the Met’s mighty chorus, sensational as always — perched high above the action on celestial bleachers. Down below, the living are primarily manifested by a beguilingly loose-limbed dance ensemble, which included many dancers from Morris’s own company. The end result is elegant, whimsical, and deeply human — all characteristics consistent with Gluck’s refined and sublime music.

Which leads us to the music-making. Led by maestro J. David Jackson in the pit, the performance unfolded with rhythmic vitality. As Orfeo, star countertenor Anthony Roth Costanzo offered up an affecting turn, using his expressive acting and precise yet sensitive vocal phrasing to animate his dramatic performance. And in the role of Euridice, lovely young soprano Ying Fang was in rich, blooming voice, matching the beauty of Costanzo singing beat by beat. Featured as Amore (the god of love) was soprano Elena Villalón, who was lively if a tad underpowered vocally in her company debut.

HIGHLY RECOMMENDED

ORFEO ED EURIDICE
Opera
The Metropolitan Opera
1 hour 40 minutes (without an intermission)
In repertory through June 8

Categories: Music, Opera, Other Music

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