Monteverdi’s L’ORFEO @ Alice Tully Hall

~ Author: Oberon

Wednesday October 18th, 2017 – Tonight marked the first event in our Great Performers at Lincoln Center subscription series: Monteverdi’s L’ORFEO was performed by the Monteverdi Choir and the English Baroque Soloists under the baton of Sir John Eliot Gardiner. Tenor Krystian Adam appeared as Orfeo, enjoying great personal success in the role. The large cast was peopled by fine singing-actors who made their characters come alive in a semi-staged setting. There was some off-pitch singing in the course of the evening, but by the final moresca all was forgiven.

The opera, which was fiirst performed in 1607 as the ducal court of Mantua, charts the story of the singer Orfeo’s love for Euridice, her death from a snake bite, and Orfeo’s journey to hell to bring his beloved back. Moved by Orfeo’s despair and devotion, Plutone allows Euridice to leave the underworld – with the stipulation that Orfeo not look at her during their journey. Orfeo cannot resist, and by gazing at his beloved, he causes her second death. The intervention of Orfeo’s father, Apollo, sends Orfeo heavenward, where he can spend eternity observing Euridice in the afterlife.

Soprano Hana Blažíková opened the prologue as La Musica (she later also appeared as Euridice). At first Ms. Blažíková’s voice seemed too large – almost Tosca-like – but she settled in quickly and did some really impressive, controlled singing in her solo with the excellent harpist Gwyneth Wentink. The story then unfolds. 

I hated the semi-staging, at least in the opening scenes where the costumed nymphs and shepherds cavorted in fake camaraderie that had the air of a high-school play. They seemed self-conscious as they embraced one another endlessly, whilst singing repeatedly about how very happy they were for Orfeo. When the story turns darker, things improved considerably. Thenceforth, everyone was clad in black and moved in stylized formations, with the musicians sometimes part of the action. 

Mr. Adam as Orfeo made a vivid impression from his first lines. As the character moves from joy to despair, the tenor’s palette of vocal colour provided phrase after phrase of deeply satisfying singing. His long scena upon losing his Euridice for a second time was a vocal marvel, with the words and his poignant phrasing of the music all of a piece.

Basso Gianluca Buratto, a masterful singing-actor, doubled as Caronte and Plutone. As Caronte, having  denied Orfeo entrance to the underworld, moved eerily around the stage, intrigued by the sounds of the musical instruments and the people playing them. Mr. Buratto’s large, inky bass sound was superbly inflected, making his scenes highlights of the evening.

A third fascinating voice was that of Korean counter-tenor Kangmin Justin Kim who – as Speranza – sang from the mezzanine. The voice is clear, steady, mystical. There was also fine singing from Lea Desandre (Messagera) and Francesca Boncompagni (Prosperina) – each with a lovely face and form – and notable beauty of tone in Gareth Treseder’s Eco, sung from above with a voice that hung on the air.

Under Sir John Eliot Gardiner’s expert leadership, the evening musically provided endless pleasures. The instrumental ensemble played superbly and there was so much fine vocalism to savour. L’ORFEO was played straight thru in a 2-hour+ stretch, but it flew by.

~ Oberon