La Morte d'Orfeo (1619)
La Morte d'Orfeo
Stefano Landi's opera combines familiar characters - Orpheus, Euridice, Caronte - and the eternal struggle between opposing gods - Apollo & Bacchus - with elements of both tragedy and comedy in a new dramatic situation: Orpheus returns to Hell for the second time!
In this colourful drama, Landi emulates the elegant story-telling of Peri's Euridice , the dramatic power of Monteverdi's Orfeo and the polyphonic splendour of the 1610 Vespers. Thrilling arias, plagent laments, and dramatic recitatives are punctuated by wonderfully rich double-choir choruses. Shepherds, satyrs, gods and maenads throng the stage. The action moves from Water to Earth, from Heaven to Hell.
The 2013 Baroque Opera Studio production builds on the success of last year's Rappresentationi project and benefits from the latest research at the Australian Research Council's Centre of Excellence for the History of Emotions:
In 1987, Andrew Lawrence-King co-directed the first modern performance and recording with ensemble Tragicomedia. Now he returns to Orpheus a second time!
Applications welcome from young professionals and advanced students. Application should include:
* your instrument/type of voice and range.
* experience level and brief CV.
* couple words about your personal goals and interests in early music.
Baroque Opera Studio 2013
27 November - 7 December
Classes, Lectures, Stage Production
Xavier Diaz Latorre, Klim Zhukov,
Andrew Lawrence-King & guest tutors
Radical Recitative, Continuo, Rhetorical Italian, Baroque Gesture, Renaissance Dance,
Four Humours, Visions, Pneuma, Enargia, Historical Swordsmanship
Admission fee €100 for the course.
Organisers are happy to help you finding affordable accommodation in
St Petersburg and getting the Russian visa.
Feel free to ask any questions via email firstname.lastname@example.org
- What was Apollo's advice?
- Why did Orpheus ignore it?
- What did Orpheus do to offend Bacchus?
- Where do tigers and dogs fit into the story?
- What potent drinks are on offer in this opera?
- Why, at the end of a heavenly birthday-party, should you not get in contact with your ex-wife?
- Who finds it difficult to get up in the mornings?
More about La Morte d'Orfeo