Saturday, 24 December 2011

L'Orfeo as transfigured by Claus Guth

The last production I saw of L’Orfeo explored the idea of music as a manipulative force, suggesting disturbing consequences to the docility it can engender. Director Claus Guth is less concerned with Orfeo the musician, and makes minimal acknowledgement of the work’s pastoral and mythic elements. He focuses instead on the consequences of Orfeo’s union with Euridice, suggesting that it is so powerful that their individuality has been subject to irreversible change. With Orfeo’s subjectivity half-demolished by the union, life after the death of Euridice ceases to be possible, and much of this production is devoted to Orfeo coming to terms with the reasons for his fate.

Click here to read more of my review. I don't have anything to add, but if you click through there are some cast details and many more images from the production.

Theater an der Wien; Ivor Bolton, Freiburger Barockorchester, Monteverdi Continuo Ensemble, Arnold Schoenberg Chor

Orfeo | John Mark Ainsley
Euridice | Mari Eriksmoen
La musica / La messaggiera / Speranza | Katija Dragojevic
Caronte / Plutone | Philip Ens
Proserpina / Ninfa | Suzana  Ograjenšek
Apollo | Mirko Guadagnini
Pastori / Spiriti | Cyril Auvity, Jeroen de Vaal, Maciej Idziorek, Jakob Huppmann

Possente spirto

Proserpina & Pluto

Image credit: Monika Rittershaus

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