Orfeo

The story of Orpheus and Eurydice has been the inspiration for a number of composers. In 1646 the French first minister, Cardinal Mazarin, commissioned the composer Luigi Rossi to write an opera which would bring Italian culture to Paris. The result was Orfeo. Staged over six hours with an elaborate setting the opera was a triumph, so it is strange that the next time it was performed, less opulently, was in 1976. 

Pygmalion, Choir and Orchestra, brought it to the Adelaide Town Hall, to a very appreciative audience.  As we had come to expect from previous performances by this ensemble, we were treated to superb musicianship, verve and energy. One gains the impression that they are musicians who are a true ensemble; a team.

All the singers, whether in the major or smaller roles, were magnificent. The orchestra supporting them with a variety of instruments, included harp, harpsichords, organ, violins, theorboes, and the violas da gamba. In different combinations, they matched the changing emotions and action which was being portrayed by the singers. Period instruments must no longer be regarded as a novelty, but as being essential for an authentic performance of baroque music.

The story of Greek gods, toying with humans as they quarrel among themselves is as old as the history of people. In Orfeo the themes of power, emotions, and choice versus a predestined fate, play out. These stories have something to teach people even in more enlightened times.  

The title roles of Orpheus and  Eurydice were sung, respectively, by Xenia Puskarz Thomas and Julie Roset. Both sang with confidence and beauty of voice, which was displayed particularly in the way their voices blended. Eurydice, winsome and enraptured by love was able to move from joy to anger and then acceptance of death. Orpheus, portrayed the devoted lover but was especially moving in the final scene where he mourns the loss of Eurydice, not only in death, but later through his inability to obey the condition set down by Pluto.

Aritaeus, the spurned lover, strongly portrayed by Blandine de Sansal, moved  from yearning to  hope, to despair and madness .

There were comic moments to counteract the enfolding tragedy. Samuel Boden, as Momo was hilarious in his attempt to lighten the wedding scene. Vecchia (Venus disguised as an old woman) was brilliantly portrayed by Dominique Visse. Alex Rosen, who sang both the Pluto and Augur, was first-rate in voice and commanding presence and William Shelton, as both Nurse and a preening Cupid showed that he could act as well as he could sing.

This performance, under the direction of Raphaël Pichon, was baroque, as close to perfection as one could hope to achieve.

Adelaide Town Hall  6 March

image Fiona Peterson