|Génération Baroque 2013|
G.P. Telemann : Orpheus2013 session saw interpretation and study of Orpheus**, an opera by G.P. Telemann.
During the 2013 session, the opera Orpheus has been studied, rehearsed and performed by an European selection of young and talented artists.
The work has been studied and performed in a stylised, shortened and, like in Hamburg in 1726, in a semi-staged version.
The session took place between 25th October and 9th November (vocal training, work with orchestra, culminating in concerts) in Strasbourg and on tour.
Under the musical, stage, and teaching skills of :
** Die wunderbare Beständigkeit der Liebe oder Orpheus, Hamburg 1726, reconstructed and published by Peter Huth for Ortus Verlag, Beeskow
Orasia : Alicia Amo
& Corinne Sattler
Orpheus : Julian Millan
Euridike : Clémence Boullu / Irina Zaripov
Pluto : David Witczak
& Laurent Koehler
Ismene : Caroline Michel
choir : Irina Zaripov, Caroline Michel, Ai Adachi, Clotilde Gaborit, Sophie Belloir
1st violin : Bérengère Le Boulair, Klaudia Matlak , Coline Ormond
2d violin : Katia Viel, Murielle Pfister, Arthur Beck,
viola : Elisabeth Sordia
violoncello : Alkvin Lisenhoff
double bass : Adrien Alix
oboe & recorder : Bénédicte Wodey
& Karni Ayelet
bassoon : Lucile Tessier
percussion : NN
violoncello : Rosa Canellas
theorbo : Parsival Castro
harpsichord : Sonoka Ogawa
Singers coach : Jean-Christophe Dijoux
Strings coach : Stéphanie Pfister
Stage director : Carlos Harmuch
Assistents : Ai Adachi (stage), Marketa Čechova (harpsichord)
Opera in three acts, based on Michel du Boulay’s libretto for the tragédie lyrique set to music by Louis Lully, son of Jean-Baptiste.
The work was premiered in a concert version on 9 March 1726 at the Hamburg Opera, under the titie Die wunderbare Beständigkeit der Liebe oder Orpheus (The marvellous constancy of love, or Orpheus).
The libretto is in German, but some of the arias are in Italian or French. The score was rediscovered in 1978.
The action introduces into the legend of Orpheus and Eurydice the character of Orasia, Queen of Thrace, whose love Orpheus spurns and who murders Eurydice out of jealousy.
‘The Queen of Thrace, in love with Orpheus, causes the death of Eurydice in order to have the poet to herself. Discovering her scheming, Orpheus shuns the criminal, who at once has him torn to pieces by the bacchantes before killing herself. Courtly and pastoral scenes are depicted in extremely varied music which reaches a powerful dramatic peak when Orasia unleashes her passion. As in many other Baroque operas, it is in the underworld, the realm of Pluto, that the music is at its most effective. Although it generally remains confined to a severely limited framework, the composer displays great virtuosity in his approach to his French Italian and models, and this Orpheus need not fear comparison with other works of its period.’ (Opéra International, January 1995)