L'Orfeo - Knowledge

260: 4241: 1131:, her husband, for Euridice's release. Moved by her pleas, Plutone agrees on the condition that, as he leads Euridice towards the world, Orfeo must not look back. If he does, "a single glance will condemn him to eternal loss". Orfeo enters, leading Euridice and singing confidently that on that day he will rest on his wife's white bosom. But as he sings a note of doubt creeps in: "Who will assure me that she is following?". Perhaps, he thinks, Plutone, driven by envy, has imposed the condition through spite? Suddenly distracted by an off-stage commotion, Orfeo looks round; immediately, the image of Euridice begins to fade. She sings, despairingly: "Losest thou me through too much love?" and disappears. Orfeo attempts to follow her but is drawn away by an unseen force. The chorus of spirits sings that Orfeo, having overcome Hades, was in turn overcome by his passions. 435: 572: 235:

1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world.

1587:, also composed for Gonzaga's court, employs the same fanfare. The toccata acted as a salute to the Duke; according to Donington, if it had not been written, precedent would have required it to be improvised. As the brass sound of the toccata fades, it is replaced by the gentler tone of the strings ritornello which introduces La musica's prologue. The ritornello is repeated in shortened form between each of the prologue's five verses, and in full after the final verse. Its function within the opera as a whole is to represent the "power of music"; as such it is heard at the end of act 2, and again at the beginning of act 5, one of the earliest examples of an operatic 1098:

while gathering flowers, Euridice has received a fatal snakebite. The chorus expresses its anguish: "Ah, bitter happening, ah, impious and cruel fate!", while the Messaggera castigates herself as the bearing of bad tidings ("For ever I will flee, and in a lonely cavern lead a life in keeping with my sorrow"). Orfeo, after venting his grief and incredulity ("Thou art dead, my life, and I am breathing?"), declares his intention to descend into the Underworld and persuade its ruler to allow Euridice to return to life. Otherwise, he says, "I shall remain with thee in the company of death". He departs, and the chorus resumes its lament.

644: 1115:. Orfeo attempts to persuade Caronte by singing a flattering song to him ("Mighty spirit and powerful divinity"), and, although the ferryman is moved by his music ("Indeed thou charmest me, appeasing my heart"), he does not allow him to pass, claiming he is incapable of feeling pity. However, when Orfeo takes up his lyre and plays, Caronte is soothed into sleep. Seizing his chance, Orfeo steals the ferryman's boat and crosses the river, entering the Underworld while a chorus of spirits reflects that nature cannot defend herself against man: "He has tamed the sea with fragile wood, and disdained the rage of the winds." 1183: 1599:

and dance music influenced, according to Harnoncourt, by Monteverdi's experience of French music. The sudden entrance of La messaggera with the doleful news of Euridice's death, and the confusion and grief which follow, are musically reflected by harsh dissonances and the juxtaposition of keys. The music remains in this vein until the act ends with La musica's ritornello, a hint that the "power of music" may yet bring about a triumph over death. Monteverdi's instructions as the act concludes are that the violins, the organ and harpsichord become silent and that the music is taken up by the trombones, the

1461: 1619:, is intended to suggest that Orfeo is harnessing all the available forces of music to support his plea. In act 4 the impersonal coldness of the Underworld is broken by the warmth of Proserpina's singing on behalf of Orfeo, a warmth that is retained until the dramatic moment at which Orfeo "looks back". The cold sounds of the sinfonia from the beginning of act 3 then remind us that the Underworld is, after all, entirely devoid of human feeling. The brief final act, which sees Orfeo's rescue and metamorphosis, is framed by the final appearance of La musica's ritornello and the lively 60: 1253: 1534: 4415: 1065:(English: "tucket", meaning a flourish on trumpets) precedes the entrance of La musica, representing the "spirit of music", who sings a prologue of five stanzas of verse. After a gracious welcome to the audience she announces that she can, through sweet sounds, "calm every troubled heart". She sings a further paean to the power of music, before introducing the drama's main protagonist, Orfeo, who "held the wild beasts spellbound with his song". 744:

it, whereby "nothing is heard but chaos and confusion, offensive to the listener". Since at no time are all the instruments played together, the number of players needed is less than the number of instruments. Harnoncourt indicates that in Monteverdi's day the numbers of players and singers together, and the small rooms in which performances were held, often meant that the audience barely numbered more than the performers.

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at their disposal. These could differ sharply from place to place. Furthermore, as Harnoncourt points out, the instrumentalists would all have been composers and would have expected to collaborate creatively at each performance, rather than playing a set text. Another practice of the time was to allow singers to embellish their arias. Monteverdi wrote plain and embellished versions of some arias, such as Orfeo's "

1527:, Monteverdi extends the rules, beyond the conventions which polyphonic composers, faithful to Palestrina, had previously considered as sacrosanct. Monteverdi was not in the generally understood sense an orchestrator; Ringer finds that it is the element of instrumental improvisation that makes each performance of a Monteverdi opera a "unique experience, and separates his work from the later operatic canon". 5151: 1206:. The second letter is from a Gonzaga court official, Carlo Magno, and gives more details: "Tomorrow evening the Most Serene Lord the Prince is to sponsor a in a room in the apartments which the Most Serene Lady had the use of ...it should be most unusual, as all the actors are to sing their parts." The "Serene Lady" is Duke Vincenzo's widowed sister Margherita Gonzaga d'Este, who lived within the 1089:, O come") and then in a joyful dance ("Leave the mountains, leave the fountains"). Orfeo and Euridice sing of their love for each other before leaving with most of the group for the wedding ceremony in the temple. Those left on stage sing a brief chorus, commenting on how Orfeo used to be one "for whom sighs were food and weeping was drink" before love brought him to a state of sublime happiness. 5139: 4226: 4200: 4178: 4165: 1144:

grief?" He invites Orfeo to leave the world and join him in the heavens, where he will recognise Euridice's likeness in the stars. Orfeo replies that it would be unworthy not to follow the counsel of such a wise father, and together they ascend. A shepherds' chorus concludes that "he who sows in suffering shall reap the fruit of every grace", before the opera ends with a vigorous

5163: 1164:. The cause of their wrath is Orfeo and his renunciation of women; he will not escape their heavenly anger, and the longer he evades them the more severe his fate will be. Orfeo leaves the scene and his destiny is left uncertain, as the Bacchantes devote themselves for the rest of the opera to wild singing and dancing in praise of Bacchus. The early music authority 1214:

the inclinations of the heart so skilfully that it could not have been done better ... The music, observing due propriety, serves the poetry so well that nothing more beautiful is to be heard anywhere". After the premiere Duke Vincenzo ordered a second performance for 1 March; a third performance was planned to coincide with a proposed state visit to Mantua by the

1286:, who was present, commended d'Indy for bringing the opera to life and returning it "to the beauty it once had, freeing it from the clumsy restorations which have disfigured it"—presumably a reference to Eitner's edition. The d'Indy edition was also the basis of the first modern staged performance of the work, at the 1244:. There is some evidence of a performance shortly after Monteverdi's death in Geneva in 1643. Although according to Carter the work was still admired across Italy in the 1650s, it was subsequently forgotten, as largely was Monteverdi, until the revival of interest in his works in the late 19th century. 1674:

have been issued on many labels. The 1969 recording by Nikolaus Harnoncourt and the Vienna Concentus Musicus, using Harnoncourt's edition based on period instruments, was praised for "making Monteverdi's music sound something like the way he imagined". In 1981 Siegfried Heinrich, with the Early Music

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The centrepiece of act 3, perhaps of the entire opera, is Orfeo's extended aria "Possente spirto e formidabil nume" ("Mighty spirit and powerful divinity"), by which he attempts to persuade Caronte to allow him to enter Hades. Monteverdi's vocal embellishments and virtuoso accompaniment provide what

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There are solo parts for four shepherds and three spirits. Carter calculates that through the doubling of roles that the text allows, a total of ten singers—three sopranos, two altos, three tenors and two basses—is required for a performance, with the soloists (except Orfeo) also forming the chorus.

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scenes. Within this general ordering, specific instruments or combinations are used to accompany some of the main characters—Orpheus by harp and organ, shepherds by harpsichord and chitarrone, the Underworld gods by trombones and regal. All of these musical distinctions and characterisations were in

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Monteverdi states the orchestral requirements at the beginning of his published score, but in accordance with the practice of the day he does not specify their exact usage. At that time it was usual to allow each interpreter of the work freedom to make local decisions, based on the orchestral forces

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After the prologue, act 1 follows in the form of a pastoral idyll. Two choruses, one solemn and one jovial are repeated in reverse order around the central love-song "Rosa del ciel" ("Rose of the heavens"), followed by the shepherds' songs of praise. The buoyant mood continues into act 2, with song

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There is no detailed account of the premiere, although Francesco wrote on 1 March that the work had "been to the great satisfaction of all who heard it", and had particularly pleased the Duke. The Mantuan court theologian and poet, Cherubino Ferrari wrote that: "Both poet and musician have depicted

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in which he laments his loss, praises Euridice's beauty and resolves that his heart will never again be pierced by Cupid's arrow. An off-stage echo repeats his final phrases. Suddenly, in a cloud, Apollo descends from the heavens and chastises him: "Why dost thou give thyself up as prey to rage and

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Monteverdi instructs his players generally to " the work as simply and correctly as possible, and not with many florid passages or runs". Those playing ornamentation instruments such as strings and flutes are advised to "play nobly, with much invention and variety", but are warned against overdoing

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shows an entirely different resolution, with Orpheus transported to the heavens through the intervention of Apollo. According to Ringer, Striggio's original ending was almost certainly used at the opera's premiere, but there is no doubt that Monteverdi believed the revised ending was aesthetically

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moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in

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Orfeo returns with the main chorus, and sings with them of the beauties of nature. Orfeo then muses on his former unhappiness, but proclaims: "After grief one is more content, after pain one is happier". The mood of contentment is abruptly ended when La messaggera enters, bringing the news that,

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in 1884, and d'Indy's performing edition 20 years later—both of which were abridged and adapted versions of the 1609 score—there have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were

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in April 1912. The opera was introduced to London, in d'Indy's edition, when it was sung to piano accompaniment at the Institut Français on 8 March 1924. The first British staged performance, with only small cuts, was given by the Oxford University Operatic Society on 7 December 1925, using an

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believes that the two endings are not incompatible; Orfeo might evade the fury of the Bacchantes and be rescued by Apollo. However, this alternative ending in any case nearer to original classic myth, where the Bacchantes also appear, but it is made explicit that they torture him to his death,

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conformed to the standard practice for court entertainments of that time and was played as a continuous entity, without intervals or curtain descents between acts. It was the contemporary custom for scene shifts to take place in sight of the audience, these changes being reflected musically by

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argues that the Apollo ending was part of the original plan for the work, but was not staged at the premiere because the small room which hosted the event could not contain the theatrical machinery that this ending required. The Bacchantes scene was a substitution; Monteverdi's intentions were

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In his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters. Thus strings, harpsichords and recorders represent the pastoral fields of Thrace with their nymphs and shepherds, while heavy brass

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for trumpets which is repeated twice. When played on period wind instruments the sound can be startling to modern audiences; Redlich calls it "shattering". Such flourishes were the standard signal for the commencement of performances at the Mantuan court; the opening chorus of Monteverdi's

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wedding, was obliged to alter the myth to provide a "happy ending" suitable for the occasion. By contrast, because Striggio was not writing for a formal court celebration he could be more faithful to the spirit of the myth's conclusion, in which Orfeo is killed and dismembered by deranged

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writes similarly: " contains no element which was not based on precedent, but it reaches complete maturity in that recently developed form ... Here are words as directly expressed in music as wanted them expressed; here is music expressing them ... with the full inspiration of genius."

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After years of neglect, Monteverdi's music began to attract the interest of pioneer music historians in the late 18th and early 19th centuries, and from the second quarter of the 19th century onwards he is discussed increasingly in scholarly works. In 1881 a truncated version of the

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that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by

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Monteverdi's 1609 score does not specify voice parts, but indicates the required ranges by clef. In the early productions the principal "high voice" parts were sung by castrati. Modern productions have generally allocated the parts to soprano, alto, tenor and bass singers. See

421:. It is likely that his principal musicians, including Monteverdi, were also present at this performance. The Duke quickly recognised the novelty of this new form of dramatic entertainment, and its potential for bringing prestige to those prepared to sponsor it. 730:

is represented by the strings, harpsichords, harp, organs, recorders and chitarroni. The remaining instruments, mainly brass, are associated with the Underworld, though there is not an absolute distinction; strings appear on several occasions in the

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called the occasion "one of the most important events of recent years"; the production had "indicated at once Monteverdi's claim to rank among the great geniuses who have written dramatic music". Westrup's edition was revived in London at the

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is not that it was the first work of its kind, but that it was the first attempt to apply the full resources of the art of music, as then evolved, to the nascent genre of opera. In particular, Monteverdi made daring innovations in the use of

1627:'s tragedies, and provides a means of bringing the audience back to their everyday world, "just as the toccata had led them into another realm some two hours before. The toccata and the moresca unite courtly reality with operatic illusion." 1494:

illustrate the action, the audience's attention is always drawn primarily to the words. The singers are required to do more than produce pleasant vocal sounds; they must represent their characters in depth and convey appropriate emotions.

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was cut. Schonberg wrote: "Even the biggest aria in the opera, 'Possente spirito', has a good-sized slash in the middle ... is long enough, and important enough, not to mention beautiful enough, to have been the entire evening's opera."

1202:, 24 February 1607, is evidenced by two letters, both dated 23 February. In the first, Francesco Gonzaga informs his brother that the "musical play" will be performed tomorrow; it is clear from earlier correspondence that this refers to 1506:

recitative is less preponderant than was usual in dramatic music at this time. It accounts for less than a quarter of the first act's music, around a third of the second and third acts, and a little under half in the final two acts.

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took part, and it is generally assumed that he sang the title role. Rasi could sing in both the tenor and bass ranges "with exquisite style ... and extraordinary feeling". The involvement in the premiere of a Florentine castrato,

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produced an edition in French, which comprised only act 2, a shortened act 3 and act 4. This edition was the basis of the first public performance of the work in two-and-a-half centuries, a concert performance at d'Indy's

1210:. The room of the premiere cannot be identified with certainty; according to Ringer, it may have been the Galleria dei Fiumi, which has the dimensions to accommodate a stage and orchestra with space for a small audience. 3402: 540:

writes that Striggio's verses are less subtle than those of Rinuccini, although the structure of Striggio's libretto is more interesting. Rinuccini, whose work had been written for the festivities accompanying a

1297:(Milan, 1909) received several concert performances in Italy and elsewhere before and after the First World War. This edition was the basis of the opera's United States debut, another concert performance at the 1792:, was a group of scholars and musicians dedicated to the revival of Ancient Greek-style theatre, mainly active in the 1570s and 1580s. Later groups with similar aims are also loosely referred to as "Camerata". 1764:(1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a particular performance or recording. 1386:(ENO), staged the first of many ENO presentations which would continue into the 21st century. Among various celebrations marking the opera's 400th anniversary in 2007 were a semi-staged performance at the 1218:. Francesco wrote to the Duke of Tuscany on 8 March, asking if he could retain the services of the castrato Magli for a little longer. However, the visit was cancelled, as was the celebratory performance. 1225:

may have been staged in Florence, Cremona, Milan and Turin, though firmer evidence suggests that the work attracted limited interest beyond the Mantuan court. Francesco may have mounted a production in

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Orfeo is guided by Speranza to the gates of Hades. Having pointed out the words inscribed on the gate ("Abandon hope, all ye who enter here"), Speranza leaves. Orfeo is now confronted with the ferryman

481:, but work was evidently under way in January 1607. In a letter written on 5 January, Francesco Gonzaga asks his brother, then attached to the Florentine court, to obtain the services of a high quality 1555: 2901: 811:, is confirmed by correspondence between the Gonzaga princes. Magli sang the prologue, Proserpina and possibly one other role, either La messaggera or Speranza. The musicologist and historian 591:

he had a thorough grounding in theatrical music. He had been employed at the Gonzaga court for 16 years, much of it as a performer or arranger of stage music, and in 1604 he had written the

1591:. It is temporally structured as a palindrome and its form of strophic variations allows Monteverdi to carefully shape musical time for expressive and structural purposes in the context of 1723:'s 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from 550:

or "Bacchantes". He chose, in fact, to write a somewhat muted version of this bloody finale, in which the Bacchantes threaten Orfeo's destruction but his actual fate is left in doubt.

2494: 1085:, commenting on the action both as a group and as individuals. A shepherd announces that this is the couple's wedding day; the chorus responds, first in a stately invocation ("Come, 1553: 802:). Little information is available about who sang the various roles in the first performance. A letter published at Mantua in 1612 records that the distinguished tenor and composer 251:. The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer's general instructions but were given considerable freedom to improvise. 553:

The libretto was published in Mantua in 1607 to coincide with the premiere and incorporated Striggio's ambiguous ending. However, Monteverdi's score published in Venice in 1609 by

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In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of

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A clue about who played Euridice is contained in a 1608 letter to Duke Vincenzo. It refers to "that little priest who performed the role of Euridice in the Most Serene Prince's

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between 1614 and 1619, under the direction of Francesco Rasi. Years later, during the first flourish of Venetian opera in 1637–43, Monteverdi chose to revive his second opera,

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Each act of the opera deals with a single element of the story, and each ends with a chorus. Despite the five-act structure, with two sets of scene changes, it is likely that

3060: 3398: 2377: 240: 3082: 3030: 4182: 1455: 508:. These provided him with the basic material, but not the structure for a staged drama; the events of acts 1 and 2 of the libretto are covered by a mere 13 lines in the 467: 1554: 2875: 2867: 340:

with dancing and instrumental passages to form a dramatic whole. Only fragments of its music still exist, but several other Florentine works of the same period—

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arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including

287:. After training in singing, string playing and composition, Monteverdi worked as a musician in Verona and Milan until, in 1590 or 1591, he secured a post as 1675:

Studio of the Hesse Chamber Orchestra, recorded a version which re-created the original Striggio libretto ending, adding music from Monteverdi's 1616 ballet

1394:, a full-scale production by the English Bach Festival (EBF) at the Whitehall Banqueting House in London on 7 February, and an unconventional production by 3479: 3445: 3373: 2905: 1699:

of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of

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listed in the 1609 score, Monteverdi unaccountably omits La messaggera (the Messenger), and indicates that the final chorus of shepherds who perform the

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has pointed out, not created by him, but "he blended the entire stock of newest and older possibilities into a unity that was indeed new". Musicologist

1325:, Northampton, Massachusetts. The three Scala performances resulted in a financial disaster, and the opera was not seen again in Britain for 35 years. 4086: 455: 1712:

in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.

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as a "watershed theatrical work" which inspired the Italian craze for pastoral drama. On 6 October 1600, while visiting Florence for the wedding of

3086: 4451: 395:, at least half of which was sung rather than spoken. More recently, in 1598 Monteverdi had helped the court's musical establishment produce 4199: 4116: 2486: 1670:

later wrote, an important factor in the postwar revival of interest in Renaissance and Baroque music, and from the mid-1950s recordings of

2936: 230:—a musical sequence between the acts of a straight play—was evolving into the form of a complete musical drama or "opera". Monteverdi's 4848: 4141: 3982: 2970: 1611:

Carter describes as "one of the most compelling visual and aural representations" in early opera. Instrumental colour is provided by a

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are in two five-part ensembles, each comprising two violins, two violas and a cello. The brass group contains four or five trombones (

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The Gonzaga court had a long history of promoting dramatic entertainment. A century before Duke Vincenzo's time the court had staged

4164: 314:—a long-established form of musical interlude inserted between the acts of spoken dramas—into increasingly elaborate forms. Led by 292: 3052: 830:

speculates that two prominent Mantuan tenors, Pandolfo Grande and Francesco Campagnola may have sung minor roles in the premiere.

778:). Instrumental color was widely used in specific dramatic situations during the 17c: in particular the regal was associated with 4821: 4275: 1230:, where he was governor, for the 1609–10 Carnival, and there are indications that the work was performed on several occasions in 477:, which provided the chief outlet for the city's theatrical works. It is not clear at what point Striggio began his libretto for 5215: 4078: 3090: 3026: 454:. The younger Striggio was himself a talented musician; as a 16-year-old, he had played the viol at the wedding festivities of 342: 5185: 4003: 726:

Instrumentally, the two worlds represented within the opera are distinctively portrayed. The pastoral world of the fields of

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Vincenzo Gonzaga's particular passion for musical theatre and spectacle grew from his family connections with the court of

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Carter's suggested role-doublings include La musica with Euridice, Ninfa with Proserpina and La messaggera with Speranza.

659:, with a few further items not easily classifiable. The strings grouping is formed from ten members of the violin family ( 4940: 627:", but according to Harnoncourt "it is obvious that where he did not write any embellishments he did not want any sung". 4444: 463: 3004: 2539: 2068: 1952: 1899: 4617: 4210: 4051: 4029: 3971: 3942: 3917: 3898: 3873: 3851: 3817: 3795: 3758: 3736: 3711: 3692: 3670: 3648: 3608: 1215: 1819:

English translations quoted in the synopsis are from the version accompanying Nikolaus Harnoncourt's 1969 recording.

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In Striggio's 1607 libretto, Orfeo's act 5 soliloquy is interrupted, not by Apollo's appearance but by a chorus of

1615:, a pipe-organ, two violins, two cornetts and a double-harp. This array, according to music historian and analyst 1486:

singing as developed by the Camerata and their successors. In this new style, the text dominates the music; while

826:, a castrato known to have had connections to the Mantuan court in the early 17th century. The Monteverdi scholar 5082: 1584: 1419: 447: 176: 76: 3471: 3437: 3365: 528:

remarks on the many similarities between Striggio's and Rinuccini's texts, noting that some of the speeches in

1340:, and was hailed as a masterpiece of scholarship and integrity. The first staged New York performance, by the 5210: 4577: 4437: 1332:'s edition, a full period reconstruction of the work prepared in 1943, which was staged and recorded at the 4922: 4158: 1647: 1438: 1403: 472: 598:

for the 1604–05 Mantua Carnival. The elements from which Monteverdi constructed his first opera score—the

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Carter, Timauthorlink=Tim Carter (musicologist) (1993). "Possento spirto: on taming the power of music".

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is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's

17: 512:. For help in creating a dramatic form, Striggio drew on other sources—Poliziano's 1480 play, Guarini's 5129: 4302: 1604: 1418:, it is a popular work with the leading Baroque ensembles. During the period 2008–10, the French-based 712: 1474:

is, in Redlich's analysis, the product of two musical epochs. It combines elements of the traditional

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A Portrait of the Artist: The Legends of Orpheus and Their Use in Medieval and Renaissance Aesthetics

3596: 3587:(1968). ""Monteverdi and the Opera Orchestra of his Time"". In Arnold, Denis; Fortune, Nigel (eds.). 1948: 1895: 1379: 827: 396: 276: 3702:

Fortune, Nigel; Whenham, John (1986). ""Modern editions and performances"". In Whenham, John (ed.).

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After La musica's final request for silence, the curtain rises on act 1 to reveal a pastoral scene.

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from the Grand Duke's establishment, for a "play in music" being prepared for the Mantuan Carnival.

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in December 1929, the same year in which the opera received its first US staged performance, at

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followed by reunion as a shade with Euridice but no apotheosis nor any interaction with Apollo.

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Sternfeld, F. W. (1986). "The Orpheus myth and the libretto of Orfeo". In Whenham, John (ed.).

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style of the 16th century with those of the emerging Florentine mode, in particular the use of

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By the latter part of the 20th century the opera was being shown all over the world. In 1965,

1287: 366:—survive complete. These last two works were the first of many musical representations of the 247:

employs all the resources then known within the art of music, with particularly daring use of

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accordance with the longstanding traditions of the Renaissance orchestra, of which the large

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were responsible for the first work generally recognised as belonging to the genre of opera:

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back to the living world. It was written in 1607 for a court performance during the annual

129: 1352:, one of several baritones who have sung the role of Orfeo. The theatre was criticised by 884: 656: 310:. Towards the end of the 16th century innovative Florentine musicians were developing the 8: 5220: 5099: 4864: 4789: 4747: 4633: 4625: 4530: 4349: 4321: 3861: 2863: 1852: 1785: 1749: 1667: 1624: 1357: 1341: 1160:

or Bacchantes—wild, drunken women—who sing of the "divine fury" of their master, the god

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performance in October 1600 was a young lawyer and career diplomat from Gonzaga's court,

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has divided Monteverdi's list of instruments into three main groups: strings, brass and

643: 5116: 5066: 4914: 4856: 4740: 4713: 4562: 4506: 4365: 4240: 4125: 2800: 2405: 2181: 1865: 1361: 1298: 1108: 771: 414: 362: 168: 50: 1680: 5039: 4989: 4649: 4570: 4370: 4047: 4025: 4018: 3999: 3967: 3938: 3913: 3894: 3869: 3847: 3813: 3791: 3783: 3754: 3732: 3707: 3688: 3666: 3644: 3604: 2958: 2397: 1869: 1709: 1696: 1345: 1274: 1227: 1165: 1128: 942: 823: 767: 554: 517: 284: 153: 1623:

that ends the opera. This dance, says Ringer, recalls the jigs danced at the end of

723:—unlisted by Monteverdi, but included in instructions relating to the end of act 4. 5104: 5031: 5013: 4797: 4781: 4546: 4380: 4339: 3746: 3661:"Correspondence relating to the early Mantuan performances" in Whenham, John (ed.): 3618: 3308: 3250: 3192: 2792: 2389: 2173: 1753: 1745: 1724: 1655: 1475: 615: 388: 333: 148: 137: 1349: 1127:, Queen of Hades, who has been deeply affected by Orfeo's singing, petitions King 5200: 5110: 4498: 4400: 4390: 4186: 1835: 1830: 1729: 1333: 1294: 1081:

enter together with a chorus of nymphs and shepherds, who act in the manner of a

624: 542: 352: 215: 180: 94: 3239:"An emblem of modern music: Temporal symmetry in the prologue of l'Orfeo (1607)" 4997: 4755: 3889:"A review of Vincent d'Indy's performance (Paris 1904)" in Whenham, John (ed.): 3883: 3312: 2818: 2161: 1387: 1366: 1329: 1313: 1283: 803: 761: 708: 525: 401: 357: 1269:

score, intended for study rather than performance, was published in Berlin by

5179: 5048: 4813: 4773: 4538: 4522: 4385: 4039: 3805: 3680: 2401: 1761: 1757: 1733: 1322: 1318: 1270: 899: 857: 664: 603: 559: 532:"correspond closely in content and even in locution to their counterparts in 494: 376: 272: 157: 2992: 2164:(1981). "Madrigal, Monody, and Monteverdi's "via actuale alla imitatione"". 571: 5167: 5155: 4981: 4609: 4219: 4013: 3927: 3827: 3196: 3180: 2547: 2535: 2413: 2076: 1960: 1907: 1839: 1716: 1616: 1303: 1236: 1082: 812: 315: 1460: 3839: 3721: 3633: 3000: 1741: 1443: 1086: 864: 756: 652: 406: 329: 204: 3893:. Perkins, Wendy (tr.). Cambridge, England: Cambridge University Press. 3254: 4947: 4429: 3584: 1612: 1570: 1491: 1479: 1124: 1111:, who addresses Orfeo harshly and refuses to take him across the river 700: 672: 607: 311: 227: 59: 2804: 2409: 2185: 1646:

was issued in 1939, a freely adapted version of Monteverdi's music by

647:

1609 score: Monteverdi's listing of instruments is shown on the right.

239:

illustrates the underworld and its denizens. Composed at the point of

5005: 4840: 4668: 4094: 3624:"Monteverdi's First Opera" in Arnold, Denis and Fortune, Nigel (eds): 1705: 1663: 1588: 1516: 1140: 1061:(acts 1, 2 and 5) and the Underworld (acts 3 and 4). An instrumental 775: 248: 3238: 1851:

There may also have been a concert performance of an excerpt at the

1414:, Milan. Despite the reluctance of some major opera houses to stage 299:. Through ability and hard work Monteverdi rose to become Gonzaga's 4474: 3165:

Hull, Robert H. (15 September 1929). "The Development of Harmony".

2796: 2393: 2177: 1651: 1487: 1411: 1252: 1231: 1161: 1078: 1057:

The action takes place in two contrasting locations: the fields of

860: 715:

or small reed organ. Outside of these groupings are two recorders (

610:, choruses, dances, dramatic musical interludes—were, as conductor 504: 482: 307: 196: 192: 172: 107: 466:, he was a member of Mantua's exclusive intellectual society, the 332:

and performed in Florence in 1598. This work combined elements of

4479: 1620: 1600: 1579: 1145: 1074: 1062: 795: 752: 720: 688: 684: 488:

Striggio's main sources for his libretto were Books 10 and 11 of

367: 268: 184: 64: 1679:

for the Bacchante scenes. Among more recent recordings, that of

1221:

There are suggestions that in the years following the premiere,

30:

This article is about the Monteverdi opera. For other uses, see

1483: 1391: 1157: 1058: 727: 580: 547: 499: 337: 296: 200: 113: 3844:

Opera's First Master: The Musical Dramas of Claudio Monteverdi

3810:

Music and Culture in Italy from the Middle Ages to the Baroque

3683:(1986). ""The rediscovery of Orfeo"". In Whenham, John (ed.). 1256:

Vincent d'Indy, who oversaw the first 20th-century revival of

1182: 4805: 880: 779: 747:

Three of the instruments used in the original performance of

732: 592: 324: 209: 188: 5150: 2823:

The Saturday Review of Politics, Literature, Science and Art

2565: 1498:

Monterverdi's recitative style was influenced by Peri's, in

2783:

Howes, Frank (1 June 1924). "Notes on Monteverdi's Orfeo".

2620: 2207: 1112: 1023: 599: 489: 371: 3562: 2752: 2487:"Notes to the transcription of the 1609 Venetian score of 2127: 1336:

in 1954. This performance had a great impact on the young

2427: 2357: 2219: 1407: 1348:

on 29 September 1960, saw the American operatic debut of

798:(Moorish dance) at the opera's end are a separate group ( 3521: 3134: 2699: 2589: 2439: 2292: 3280: 2345: 2333: 1828:

The pun (Speranza means "hope") in this quotation from

3812:. Cambridge, Massachusetts: Harvard University Press. 3550: 3497: 3417: 3146: 2829: 2764: 2263: 2022: 1978: 1864:

For example, as of 2010 the opera remains unstaged at

1293:

An edition of the score by the minor Italian composer

458:

in 1589. Together with Duke Vincent's two young sons,

263:

Duke Vincenzo Gonzaga, Monteverdi's employer at Mantua

5127: 3727:"Solving the musical problem" in Whenham, John (ed.): 3509: 3346: 3322: 3206: 3105: 2723: 2601: 2577: 2451: 2321: 1456:

List of musical items in Claudio Monteverdi's L'Orfeo

380:, and as such were direct precursors of Monteverdi's 3983:"Ars Polemica: Monteverdi's Orfeo as artistic creed" 3334: 2630: 2094: 2043: 1666:(LPs) was used. The advent of LP recordings was, as 1172: 3775:(in notes accompanying TELDEC recording 8.35020 ZA) 3218: 3083:"L'Orfeo, de Claudio Monteverdi, en el Teatro Real" 2711: 223:is the earliest that is still regularly performed. 4017: 3912:. Cambridge, England: Cambridge University Press. 3731:. Cambridge, England: Cambridge University Press. 3706:. Cambridge, England: Cambridge University Press. 3687:. Cambridge, England: Cambridge University Press. 3665:. Cambridge, England: Cambridge University Press. 3643:. Cambridge, England: Cambridge University Press. 2689: 2687: 2685: 2683: 2681: 2679: 1683:in 2004 has been praised for its dramatic effect. 1177: 1032:Soloists: alto castrato (en travesti), two tenors 241:transition from the Renaissance era to the Baroque 191:and his fruitless attempt to bring his dead bride 3603:. New Haven, Connecticut: Yale University Press. 815:mistakenly allocates Magli to the role of Orfeo. 5177: 3773:"Claudio Monteverdi's L'Orfeo: An Introduction" 3087:Ministry of Education, Culture and Sport (Spain) 691:. The continuo forces include two harpsichords ( 417:, Duke Vincenzo attended the premiere of Peri's 3966:. Cambridge, U.K.: Cambridge University Press. 3790:. Englewood Cliffs, New Jersey: Prentice-Hall. 2676: 1139:Back in the fields of Thrace, Orfeo has a long 3701: 3236: 2693: 2144: 2142: 1842:, as a "learned witticism" on Striggio's part. 1426:, presented the Monteverdi trilogy of operas ( 1282:on 25 February 1904. The distinguished writer 651:For the purpose of analysis the music scholar 4445: 4110: 3399:"Monteverdi – L'Orfeo – Milan 1939 – Calusio" 2846: 2844: 2530: 2528: 2526: 2524: 2522: 2520: 2518: 2516: 2514: 2512: 2382:Journal of the American Musicological Society 2166:Journal of the American Musicological Society 1402:, conducted by Antony Walker and directed by 4082:libretto in Italian with English translation 2821:(19 December 1925). "Monteverdi at Oxford". 2311: 2309: 2307: 1941: 3767: 3639:"The Mantuan Orfeo" in Whenham, John (ed.): 3274: 3124: 3122: 3120: 2902:"400 years on, Opera Looks to the Next Act" 2649: 2647: 2645: 2571: 2468: 2466: 2363: 2286: 2242: 2197: 2195: 2139: 1151: 635:changes in instrumentation, key and style. 563:restored when this constraint was removed. 4849:The Tale of Orpheus and Erudices his Quene 4452: 4438: 4209: 4117: 4103: 2963:"Four Trips to Hell and Back at the Opera" 2841: 2666: 2664: 2662: 2509: 2062: 2060: 2058: 1719:used in the 1925 Oxford performances, and 1607:, as the scene changes to the Underworld. 1410:broadcast a performance of the opera from 1328:Among a flurry of revivals after 1945 was 226:By the early 17th century the traditional 58: 4074:International Music Score Library Project 3907: 3617: 2957: 2862: 2304: 2257: 2238: 2236: 2234: 2160: 2148: 2133: 2016: 1932: 1930: 1928: 1578:The opera begins with a martial-sounding 1360:because, to accommodate a performance of 4459: 3860: 3804: 3183:(1940). "Monteverdi and the Orchestra". 3117: 2868:"2 Works Sung as City Opera Starts Year" 2642: 2463: 2378:"Agazzari and the Improvising Orchestra" 2269: 2213: 2192: 1459: 1251: 1247: 1181: 1026:castratos (en travesti), tenors, basses 642: 570: 433: 258: 254: 187:, and tells the story of his descent to 4276:Il combattimento di Tancredi e Clorinda 4024:(English ed.). Cologne: Könemann. 3926: 3882: 3826: 3782: 3753:. New York: Columbia University Press. 3679: 3657: 3632: 3568: 3556: 3544: 3527: 3503: 3423: 3352: 3328: 3212: 3179: 3140: 3111: 2850: 2835: 2770: 2758: 2735: 2729: 2705: 2659: 2653: 2607: 2595: 2583: 2534: 2484: 2457: 2445: 2298: 2121: 2117: 2115: 2113: 2111: 2109: 2066: 2055: 2001: 1936: 1767: 1022:mezzo-soprano castratos (en travesti), 1019:Ninfe e pastori (Nymphs and shepherds) 14: 5178: 4124: 3937:. London: Cambridge University Press. 3838: 3720: 3595: 3540: 3538: 3536: 3515: 3469: 3435: 3391: 3340: 3298: 3286: 3270: 3268: 3266: 3264: 3128: 2926: 2899: 2817: 2811: 2717: 2670: 2636: 2472: 2433: 2327: 2315: 2282: 2280: 2278: 2253: 2251: 2231: 2225: 2201: 2100: 2049: 2028: 1984: 1947: 1925: 1894: 1807: 1803: 1198:The date for the first performance of 343:Rappresentatione di Anima, et di Corpo 4433: 4098: 4044:The Illustrated Encyclopedia of Opera 3846:. Newark, New Jersey: Amadeus Press. 3778:. Hamburg: Teldec Schallplatten GmbH. 3745: 3224: 3152: 2782: 2776: 2069:"Striggio, Alessandro (Alessandrino)" 2012: 2010: 1442:) in a series of performances at the 1037:Spiriti infernali (Infernal spirits) 996:mezzo-soprano castrato (en travesti) 957:mezzo-soprano castrato (en travesti) 929:mezzo-soprano castrato (en travesti) 915:mezzo-soprano castrato (en travesti) 147: 136: 4974:Abattoir Blues / The Lyre of Orpheus 3583: 3482:from the original on 5 November 2012 3448:from the original on 5 November 2012 3376:from the original on 5 November 2012 3164: 2485:Zanette, Damian H. (February 2007). 2375: 2351: 2339: 2106: 1997: 1995: 1993: 1630: 1523:had been the principal exponent. In 755:(usually paired with sackbuts), the 4941:Landscape with Orpheus and Eurydice 4020:Opera: Composers, Works, Performers 3533: 3261: 2745:. L'Almanacco di Gherardo Casaglia 2275: 2248: 1695:score in 1609, the same publisher ( 318:, these successors to the renowned 24: 3952: 3834:. London: Oxford University Press. 3832:Claudio Monteverdi: Life and Works 2007: 1635:For the complete discography, see 1532: 1302:edition prepared for the event by 921:Named in the libretto as "Silvia" 822:". This priest was possibly Padre 687:), three or four trumpets and two 638: 25: 5232: 4061: 4046:. London: Flame Tree Publishing. 3033:from the original on 11 June 2016 2927:Pettit, Stephen (22 March 2007). 1990: 1173:Reception and performance history 774:(an organ with fractional-length 405:, described by theatre historian 5161: 5149: 5137: 4414: 4413: 4239: 4224: 4198: 4176: 4163: 3405:from the original on 1 June 2020 3372:. London: Haymarket. June 1944. 3063:from the original on 1 June 2020 3027:"Festival Productions by Season" 2973:from the original on 1 June 2020 2939:from the original on 1 June 2020 2904:. Michigan Radio. Archived from 2878:from the original on 1 June 2020 2497:from the original on 1 June 2020 1838:can be considered, according to 1569:Problems playing this file? See 1551: 4555:La descente d'Orphée aux enfers 3868:. London: Hutchinson & Co. 3463: 3429: 3358: 3292: 3230: 3173: 3158: 3075: 3053:"Royal Opera House Collections" 3045: 3029:. Glyndebourne Festival Opera. 3019: 3007:from the original on 8 May 2010 2985: 2951: 2920: 2893: 2856: 2613: 2478: 2369: 2154: 1858: 1845: 1822: 1813: 1795: 1178:Premiere and early performances 1046:Soloists: two tenors, one bass 770:with sharps and flats) and the 438:Title page of the 1607 libretto 4090:libretto in German translation 3987:Goldberg: Early Music Magazine 3438:"Monteverdi: L'Orfeo complete" 2034: 1900:"Monteverdi, Claudio: Cremona" 1888: 1778: 1464:A page from the 1609 score of 912:La messaggera (The Messenger) 800:che fecero la moresca nel fine 751:have had recent revivals: the 717:flautini alla vigesima secunda 596:Gli amori di Diane ed Endimone 566: 13: 1: 5216:Operas based on Metamorphoses 4194:Il ritorno d'Ulisse in patria 1953:"Monteverdi, Claudio: Mantua" 1882: 1691:After the publication of the 677:violini piccoli alla francese 5186:Operas by Claudio Monteverdi 4844:(c. late thirteenth century) 3601:Monteverdi's Musical Theatre 3470:Arnold, Denis (March 1982). 3436:Arnold, Denis (March 1970). 1650:, given by the orchestra of 719:), and possibly one or more 575:Front cover of the score of 267:Claudio Monteverdi, born in 149:[laˈfaːvoladorˈfɛːo] 7: 4907:The Ground Beneath Her Feet 4822:You Ain't Seen Nothin' Yet! 4621:(1975, Zhurbin, rock opera) 3933:"Five acts, one action" in 3366:"Continental Record Issues" 3237:Chrissochoidis, I. (2011). 2376:Rose, Gloria (1965-10-01). 1686: 1052: 442:Among those present at the 429: 424: 303:(master of music) in 1601. 27:Opera by Claudio Monteverdi 10: 5237: 4303:Vespro della Beata Vergine 3981:Golomb, Uri (April 2007). 3628:. London: Faber and Faber. 3591:. London: Faber and Faber. 3577: 3089:. May 2008. Archived from 2741:Casaglia, Gherardo (2005). 2694:Fortune & Whenham 1986 2493:. Icking Musical Archive. 1634: 1453: 558:correct. The musicologist 456:Duke Ferdinando of Tuscany 29: 5092: 5059: 5024: 4957: 4932: 4883:The Einstein Intersection 4874: 4832: 4732: 4685: 4676:Moulin Rouge! The Musical 4660: 4594:Orpheus in the Underworld 4488: 4467: 4409: 4358: 4332: 4313: 4295:Selva morale e spirituale 4286: 4267: 4248: 4237: 4159:L'incoronazione di Poppea 4150: 4132: 3994:Newby, Elizabeth (1987). 3935:Claudio Monteverdi: Orfeo 3910:Claudio Monteverdi: Orfeo 3891:Claudio Monteverdi: Orfeo 3729:Claudio Monteverdi: Orfeo 3704:Claudio Monteverdi: Orfeo 3685:Claudio Monteverdi: Orfeo 3663:Claudio Monteverdi: Orfeo 3641:Claudio Monteverdi: Orfeo 2067:Hanning, Barbara (2007). 1439:L'incoronazione di Poppea 842: 587:When Monteverdi composed 468:Accademia degli Invaghiti 452:composer of the same name 397:Giovanni Battista Guarini 101: 90: 82: 72: 57: 44: 39: 4376:Giulio Cesare Monteverdi 3751:A Short History of Opera 3626:The Monteverdi Companion 3589:The Monteverdi Companion 3313:10.1093/earlyj/xxi.4.517 2743:"L'Orfeo, 14 April 1832" 2542:. In Macy, Laura (ed.). 2071:. In Macy, Laura (ed.). 1955:. In Macy, Laura (ed.). 1902:. In Macy, Laura (ed.). 1772: 1721:Gian Francesco Malipiero 1449: 1290:, Paris, on 2 May 1911. 1152:Original libretto ending 1134: 1118: 1101: 1092: 1068: 954:Proserpina (Proserpine) 809:Giovanni Gualberto Magli 785: 328:, composed by Corsi and 5196:Italian-language operas 4345:Monteverdi-Chor Hamburg 3493:(subscription required) 3459:(subscription required) 3387:(subscription required) 3318:(subscription required) 3202:(subscription required) 3167:The School Music Review 2889:(subscription required) 2561:(subscription required) 2090:(subscription required) 1974:(subscription required) 1921:(subscription required) 1642:The first recording of 1273:. In 1904 the composer 902:castrato (en travesti) 538:Barbara Russano Hanning 520:'s libretto for Peri's 415:King Henry IV of France 271:in 1567, was a musical 67:, the hero of the opera 4923:L'Esprit de L'Escalier 4558:(c. 1686, Charpentier) 4257:Il ballo delle ingrate 1537: 1468: 1384:English National Opera 1364:'s contemporary opera 1261: 1195: 1188:Ducal Palace at Mantua 648: 584: 450:, son of a well-known 439: 360:'s identically titled 277:Marc'Antonio Ingegneri 264: 134:Italian pronunciation: 5076:The Battle of Olympus 3998:. New York: Garland. 3769:Harnoncourt, Nikolaus 3658:Fenlon, Ian (1986b). 3478:. London: Haymarket. 3472:"Monteverdi: L'Orfeo" 3444:. London: Haymarket. 3057:The Royal Opera House 2900:Riding, Alan (2007). 2866:(30 September 1960). 1752:. Only the composers 1536: 1463: 1454:Further information: 1422:, under its director 1400:Cooperstown, New York 1255: 1248:20th-century revivals 1194:was premiered in 1607 1185: 740:ensemble is typical. 646: 574: 437: 370:myth as recounted in 293:Duke Vincenzo Gonzaga 262: 255:Historical background 179:. It is based on the 5211:Operas about Orpheus 4899:The Medusa Frequency 4764:Testament of Orpheus 4618:Orpheus and Eurydice 4602:Orpheus und Eurydike 4586:L'anima del filosofo 4461:Orpheus and Eurydice 4396:Stattkus-Verzeichnis 4142:list of compositions 3862:Robinson, Michael F. 3197:10.1093/ml/XXI.3.230 2929:"The Power of Orfeo" 2864:Schonberg, Harold C. 1810:, pp. 146–148. 1768:Notes and references 1738:Nikolaus Harnoncourt 1708:(1923 and 1939) and 1664:long-playing records 1662:, the new medium of 1420:Les Arts Florissants 1406:. On 6 May 2010 the 1338:Nikolaus Harnoncourt 896:Euridice (Eurydice) 669:contrabassi de viola 612:Nikolaus Harnoncourt 348:Emilio de' Cavalieri 301:maestro della musica 289:suonatore di vivuola 5100:The Gaze of Orpheus 4748:The Blood of a Poet 4634:The Second Mrs Kong 4626:The Mask of Orpheus 4350:Monteverdi (crater) 4322:The Full Monteverdi 3866:Opera before Mozart 3571:, pp. 110–118. 2761:, pp. 124–125. 2544:Oxford Music Online 2436:, pp. 146–148. 2354:, pp. 280–281. 2342:, pp. 277–278. 2228:, pp. 143–144. 2216:, pp. 258–259. 2073:Oxford Music Online 1957:Oxford Music Online 1904:Oxford Music Online 1853:Paris Conservatoire 1786:Florentine Camerata 1750:John Eliot Gardiner 1668:Harold C. Schonberg 1654:Milan conducted by 1637:L'Orfeo discography 1433:Il ritorno d'Ulisse 1370:, about a third of 1358:Harold C. Schonberg 1342:New York City Opera 1123:In the Underworld, 926:La Speranza (Hope) 703:, two pipe organs ( 448:Alessandro Striggio 283:(head of music) at 281:maestro di cappella 177:Alessandro Striggio 77:Alessandro Striggio 4915:Veniss Underground 4857:Sonnets to Orpheus 4741:The Orphic Trilogy 4714:Orpheus Descending 4706:Orfeu da Conceição 4698:Point of Departure 4645:(2009, Birtwistle) 4637:(1994, Birtwistle) 4629:(1986, Birtwistle) 4518:(1607, Monteverdi) 4366:Concerted madrigal 4126:Claudio Monteverdi 3784:Palisca, Claude V. 3093:on 23 October 2017 2967:The New York Times 2959:Tommasini, Anthony 2872:The New York Times 2696:, pp. 173–181 2318:, pp. 139–141 2124:, pp. 167–172 1806:, pp. 91–97, 1790:Giovanni de' Bardi 1538: 1510:The importance of 1469: 1396:Glimmerglass Opera 1362:Luigi Dallapiccola 1262: 1196: 889:Act 1, 2, 3, 4, 5 854:La Musica (Music) 695:), a double harp ( 649: 585: 440: 393:La favola di Orfeo 291:(viola player) at 275:who studied under 265: 169:Claudio Monteverdi 138:[lorˈfɛːo] 51:Claudio Monteverdi 5125: 5124: 4891:Gravity's Rainbow 4709:(1956, de Moraes) 4613:(1925, Malipiero) 4597:(1858, Offenbach) 4571:Orfeo ed Euridice 4427: 4426: 4371:Garklein recorder 4306:(SV 206 and 206a) 4235: 4234: 4005:978-0-8240-8431-8 3747:Grout, Donald Jay 3619:Donington, Robert 3547:, pp. 96–102 3530:, pp. 90–91. 3289:, pp. 63–64. 3255:10.1093/em/car082 3185:The Musical Times 3155:, pp. 53–55. 3143:, pp. 40–42. 2961:(7 August 2007). 2785:The Musical Times 2708:, pp. 80–81. 2598:, pp. 35–40. 2574:, pp. 73–96. 2448:, pp. 11–15. 2301:, pp. 42–47. 2136:, pp. 20–25. 2031:, pp. 30–31. 1987:, pp. 12–13. 1870:Royal Opera House 1710:Ottorino Respighi 1697:Ricciardo Amadino 1648:Giacomo Benvenuti 1631:Recording history 1556: 1490:and instrumental 1404:Christopher Alden 1346:Leopold Stokowski 1228:Casale Monferrato 1050: 1049: 939:Caronte (Charon) 824:Girolamo Bacchini 768:multi-course harp 693:duoi gravicembani 555:Ricciardo Amadino 518:Ottavio Rinuccini 498:and Book Four of 391:'s lyrical drama 285:Cremona Cathedral 144:La favola d'Orfeo 121: 120: 16:(Redirected from 5228: 5166: 5165: 5164: 5154: 5153: 5142: 5141: 5140: 5133: 5105:Orpheus Monument 5014:Wasteland, Baby! 4798:Shredder Orpheus 4782:Euridice BA 2037 4717:(1957, Williams) 4566:(1726, Telemann) 4550:(1672, Sartorio) 4531:La morte d'Orfeo 4454: 4447: 4440: 4431: 4430: 4417: 4416: 4381:Origins of opera 4340:Monteverdi Choir 4243: 4228: 4207: 4206: 4202: 4180: 4167: 4119: 4112: 4105: 4096: 4095: 4072:: Scores at the 4057: 4035: 4023: 4009: 3990: 3977: 3948: 3923: 3904: 3879: 3857: 3835: 3823: 3801: 3779: 3764: 3742: 3717: 3698: 3676: 3654: 3629: 3614: 3592: 3572: 3566: 3560: 3554: 3548: 3542: 3531: 3525: 3519: 3513: 3507: 3501: 3495: 3494: 3491: 3489: 3487: 3467: 3461: 3460: 3457: 3455: 3453: 3433: 3427: 3421: 3415: 3414: 3412: 3410: 3401:. Amazon.co.uk. 3395: 3389: 3388: 3385: 3383: 3381: 3362: 3356: 3350: 3344: 3338: 3332: 3326: 3320: 3319: 3316: 3296: 3290: 3284: 3278: 3277:, pp. 24–25 3275:Harnoncourt 1969 3272: 3259: 3258: 3234: 3228: 3222: 3216: 3210: 3204: 3203: 3200: 3177: 3171: 3170: 3162: 3156: 3150: 3144: 3138: 3132: 3131:, pp. 27–28 3126: 3115: 3109: 3103: 3102: 3100: 3098: 3079: 3073: 3072: 3070: 3068: 3049: 3043: 3042: 3040: 3038: 3023: 3017: 3016: 3014: 3012: 2989: 2983: 2982: 2980: 2978: 2955: 2949: 2948: 2946: 2944: 2924: 2918: 2917: 2915: 2913: 2897: 2891: 2890: 2887: 2885: 2883: 2860: 2854: 2848: 2839: 2833: 2827: 2826: 2815: 2809: 2808: 2791:(976): 509–511. 2780: 2774: 2768: 2762: 2756: 2750: 2748: 2739: 2733: 2727: 2721: 2715: 2709: 2703: 2697: 2691: 2674: 2668: 2657: 2656:, pp. 17–19 2651: 2640: 2634: 2628: 2617: 2611: 2605: 2599: 2593: 2587: 2581: 2575: 2572:Harnoncourt 1969 2569: 2563: 2562: 2559: 2557: 2555: 2546:. Archived from 2532: 2507: 2506: 2504: 2502: 2482: 2476: 2475:, pp. 97–98 2470: 2461: 2455: 2449: 2443: 2437: 2431: 2425: 2424: 2422: 2421: 2412:. Archived from 2373: 2367: 2364:Harnoncourt 1969 2361: 2355: 2349: 2343: 2337: 2331: 2325: 2319: 2313: 2302: 2296: 2290: 2287:Harnoncourt 1969 2284: 2273: 2267: 2261: 2255: 2246: 2243:Harnoncourt 1969 2240: 2229: 2223: 2217: 2211: 2205: 2204:, pp. 39–40 2199: 2190: 2189: 2158: 2152: 2151:, pp. 27–30 2146: 2137: 2131: 2125: 2119: 2104: 2098: 2092: 2091: 2088: 2086: 2084: 2075:. Archived from 2064: 2053: 2047: 2041: 2038: 2032: 2026: 2020: 2014: 2005: 1999: 1988: 1982: 1976: 1975: 1972: 1970: 1968: 1959:. Archived from 1945: 1939: 1934: 1923: 1922: 1919: 1917: 1915: 1906:. Archived from 1892: 1877: 1862: 1856: 1849: 1843: 1826: 1820: 1817: 1811: 1799: 1793: 1782: 1754:Valentino Bucchi 1746:Roger Norrington 1725:August Wenzinger 1656:Ferrucio Calusio 1593:seconda prattica 1558: 1557: 1535: 1424:William Christie 1382:, forerunner of 1306:. In the London 967:Plutone (Pluto) 877:Orfeo (Orpheus) 837: 836: 765: 699:), two or three 616:Robert Donington 476: 411:Maria de' Medici 389:Angelo Poliziano 161:favola in musica 151: 140: 135: 62: 53: 46:Favola in musica 37: 36: 21: 5236: 5235: 5231: 5230: 5229: 5227: 5226: 5225: 5191:Pastoral operas 5176: 5175: 5172: 5162: 5160: 5148: 5144:Classical music 5138: 5136: 5128: 5126: 5121: 5111:Orpheus no Mado 5088: 5083:Don't Look Back 5055: 5020: 4953: 4928: 4870: 4828: 4728: 4701:(1941, Anouilh) 4681: 4656: 4510:(1602, Caccini) 4484: 4463: 4458: 4428: 4423: 4405: 4401:Stile concitato 4391:Seconda pratica 4354: 4328: 4309: 4282: 4263: 4244: 4231: 4205: 4187:Possente spirto 4146: 4128: 4123: 4064: 4054: 4038: 4032: 4012: 4006: 3993: 3980: 3974: 3958: 3955: 3953:Further reading 3945: 3920: 3901: 3884:Rolland, Romain 3876: 3854: 3820: 3798: 3761: 3739: 3714: 3695: 3673: 3651: 3611: 3580: 3575: 3567: 3563: 3555: 3551: 3543: 3534: 3526: 3522: 3514: 3510: 3502: 3498: 3492: 3485: 3483: 3468: 3464: 3458: 3451: 3449: 3434: 3430: 3422: 3418: 3408: 3406: 3397: 3396: 3392: 3386: 3379: 3377: 3364: 3363: 3359: 3351: 3347: 3339: 3335: 3327: 3323: 3317: 3297: 3293: 3285: 3281: 3273: 3262: 3235: 3231: 3223: 3219: 3211: 3207: 3201: 3178: 3174: 3163: 3159: 3151: 3147: 3139: 3135: 3127: 3118: 3110: 3106: 3096: 3094: 3081: 3080: 3076: 3066: 3064: 3051: 3050: 3046: 3036: 3034: 3025: 3024: 3020: 3010: 3008: 2991: 2990: 2986: 2976: 2974: 2956: 2952: 2942: 2940: 2925: 2921: 2911: 2909: 2898: 2894: 2888: 2881: 2879: 2861: 2857: 2849: 2842: 2834: 2830: 2819:Hussey, Dyneley 2816: 2812: 2781: 2777: 2769: 2765: 2757: 2753: 2746: 2740: 2736: 2728: 2724: 2716: 2712: 2704: 2700: 2692: 2677: 2669: 2660: 2652: 2643: 2635: 2631: 2618: 2614: 2606: 2602: 2594: 2590: 2582: 2578: 2570: 2566: 2560: 2553: 2551: 2533: 2510: 2500: 2498: 2483: 2479: 2471: 2464: 2456: 2452: 2444: 2440: 2432: 2428: 2419: 2417: 2374: 2370: 2362: 2358: 2350: 2346: 2338: 2334: 2326: 2322: 2314: 2305: 2297: 2293: 2285: 2276: 2268: 2264: 2256: 2249: 2241: 2232: 2224: 2220: 2212: 2208: 2200: 2193: 2162:Tomlinson, Gary 2159: 2155: 2147: 2140: 2132: 2128: 2120: 2107: 2099: 2095: 2089: 2082: 2080: 2065: 2056: 2048: 2044: 2039: 2035: 2027: 2023: 2015: 2008: 2000: 1991: 1983: 1979: 1973: 1966: 1964: 1946: 1942: 1935: 1926: 1920: 1913: 1911: 1893: 1889: 1885: 1880: 1863: 1859: 1850: 1846: 1836:Dante Alighieri 1827: 1823: 1818: 1814: 1800: 1796: 1783: 1779: 1775: 1770: 1730:Raymond Leppard 1689: 1681:Emmanuelle Haïm 1640: 1633: 1576: 1575: 1567: 1565: 1564: 1563: 1562: 1559: 1552: 1549: 1544:"Toccata" from 1539: 1533: 1458: 1452: 1334:Vienna Festival 1312:, music critic 1309:Saturday Review 1295:Giacomo Orefice 1280:Schola Cantorum 1250: 1240:there, but not 1180: 1175: 1154: 1137: 1121: 1104: 1095: 1071: 1055: 1040:tenors, basses 788: 759: 705:organi di legno 681:viole da brazzo 661:viole da brazzo 641: 639:Instrumentation 625:Possente spirto 579:, published in 569: 524:. Musicologist 470: 432: 427: 257: 133: 117: 116: 111: 68: 49: 35: 28: 23: 22: 15: 12: 11: 5: 5234: 5224: 5223: 5218: 5213: 5208: 5203: 5198: 5193: 5188: 5171: 5170: 5158: 5146: 5123: 5122: 5120: 5119: 5114: 5107: 5102: 5096: 5094: 5090: 5089: 5087: 5086: 5079: 5072: 5063: 5061: 5057: 5056: 5054: 5053: 5045: 5037: 5028: 5026: 5022: 5021: 5019: 5018: 5010: 5002: 4994: 4986: 4978: 4970: 4961: 4959: 4955: 4954: 4952: 4951: 4944: 4936: 4934: 4930: 4929: 4927: 4926: 4919: 4911: 4903: 4895: 4887: 4878: 4876: 4872: 4871: 4869: 4868: 4861: 4853: 4845: 4836: 4834: 4830: 4829: 4827: 4826: 4818: 4810: 4802: 4794: 4786: 4778: 4770: 4769: 4768: 4760: 4752: 4736: 4734: 4730: 4729: 4727: 4726: 4718: 4710: 4702: 4689: 4687: 4683: 4682: 4680: 4679: 4672: 4664: 4662: 4658: 4657: 4655: 4654: 4653:(2020, Aucoin) 4646: 4638: 4630: 4622: 4614: 4606: 4605:(1921, Krenek) 4598: 4590: 4582: 4581: 4580: 4574:(1762, Gluck) 4567: 4559: 4551: 4543: 4535: 4534:(1619, Landi)f 4527: 4519: 4511: 4503: 4494: 4492: 4490:Orphean operas 4486: 4485: 4483: 4482: 4477: 4471: 4469: 4465: 4464: 4457: 4456: 4449: 4442: 4434: 4425: 4424: 4422: 4421: 4410: 4407: 4406: 4404: 4403: 4398: 4393: 4388: 4383: 4378: 4373: 4368: 4362: 4360: 4356: 4355: 4353: 4352: 4347: 4342: 4336: 4334: 4330: 4329: 4327: 4326: 4317: 4315: 4311: 4310: 4308: 4307: 4299: 4290: 4288: 4284: 4283: 4281: 4280: 4271: 4269: 4265: 4264: 4262: 4261: 4252: 4250: 4246: 4245: 4238: 4236: 4233: 4232: 4230: 4229: 4215: 4213: 4204: 4203: 4190: 4168: 4154: 4152: 4148: 4147: 4145: 4144: 4139: 4137:list of operas 4133: 4130: 4129: 4122: 4121: 4114: 4107: 4099: 4093: 4092: 4084: 4076: 4063: 4062:External links 4060: 4059: 4058: 4052: 4042:, ed. (2004). 4040:Sadie, Stanley 4036: 4030: 4016:, ed. (2000). 4010: 4004: 3991: 3978: 3972: 3954: 3951: 3950: 3949: 3943: 3924: 3918: 3905: 3899: 3880: 3874: 3858: 3852: 3836: 3824: 3818: 3806:Pirrotta, Nino 3802: 3796: 3780: 3765: 3759: 3743: 3737: 3718: 3712: 3699: 3693: 3681:Fortune, Nigel 3677: 3671: 3655: 3649: 3630: 3615: 3609: 3593: 3585:Beat, Janet E. 3579: 3576: 3574: 3573: 3561: 3559:, p. 107. 3549: 3532: 3520: 3518:, p. 311. 3508: 3506:, p. 204. 3496: 3462: 3428: 3426:, p. 109. 3416: 3390: 3357: 3345: 3333: 3321: 3307:(4): 517–524. 3291: 3279: 3260: 3249:(4): 519–530. 3229: 3217: 3205: 3191:(3): 230–245. 3172: 3157: 3145: 3133: 3116: 3104: 3074: 3044: 3018: 3003:. 6 May 2010. 2993:"Monteverdi's 2984: 2950: 2919: 2892: 2855: 2840: 2838:, p. 104. 2828: 2810: 2797:10.2307/913262 2775: 2773:, p. 196. 2763: 2751: 2734: 2722: 2710: 2698: 2675: 2673:, pp. 3–5 2658: 2641: 2629: 2612: 2600: 2588: 2576: 2564: 2550:on 1 June 2013 2508: 2477: 2462: 2450: 2438: 2426: 2394:10.2307/830706 2388:(3): 382–393. 2368: 2356: 2344: 2332: 2330:, p. 142. 2320: 2303: 2291: 2274: 2262: 2258:Donington 1968 2247: 2230: 2218: 2206: 2191: 2178:10.2307/831035 2153: 2149:Sternfeld 1986 2138: 2134:Sternfeld 1986 2126: 2105: 2093: 2079:on 1 June 2013 2054: 2042: 2033: 2021: 2017:Sternfeld 1986 2006: 2004:, pp. 1–4 1989: 1977: 1963:on 1 June 2013 1940: 1924: 1910:on 1 June 2013 1886: 1884: 1881: 1879: 1878: 1857: 1844: 1821: 1812: 1794: 1776: 1774: 1771: 1769: 1766: 1688: 1685: 1632: 1629: 1566: 1561:Live recording 1560: 1550: 1542: 1541: 1540: 1531: 1530: 1529: 1502:, although in 1451: 1448: 1388:Teatro Bibiena 1380:Sadler's Wells 1367:Il prigioniero 1354:New York Times 1330:Paul Hindemith 1314:Dyneley Hussey 1288:Théâtre Réjane 1284:Romain Rolland 1275:Vincent d'Indy 1249: 1246: 1179: 1176: 1174: 1171: 1166:Claude Palisca 1153: 1150: 1136: 1133: 1120: 1117: 1103: 1100: 1094: 1091: 1070: 1067: 1054: 1051: 1048: 1047: 1044: 1041: 1038: 1034: 1033: 1030: 1027: 1020: 1016: 1015: 1013: 1010: 1007: 1003: 1002: 1000: 997: 994: 993:Ninfa (Nymph) 990: 989: 987: 984: 981: 977: 976: 974: 971: 968: 964: 963: 961: 958: 955: 951: 950: 948: 945: 940: 936: 935: 933: 930: 927: 923: 922: 919: 916: 913: 909: 908: 906: 903: 897: 893: 892: 890: 887: 878: 874: 873: 871: 868: 855: 851: 850: 847: 844: 841: 804:Francesco Rasi 787: 784: 709:viola da gamba 707:), three bass 640: 637: 568: 565: 536:". The critic 526:Gary Tomlinson 514:Il pastor fido 431: 428: 426: 423: 402:Il pastor fido 358:Giulio Caccini 256: 253: 119: 118: 112: 105: 103: 99: 98: 92: 88: 87: 84: 80: 79: 74: 70: 69: 63: 55: 54: 42: 41: 26: 9: 6: 4: 3: 2: 5233: 5222: 5219: 5217: 5214: 5212: 5209: 5207: 5204: 5202: 5199: 5197: 5194: 5192: 5189: 5187: 5184: 5183: 5181: 5174: 5169: 5159: 5157: 5152: 5147: 5145: 5135: 5134: 5131: 5118: 5115: 5113: 5112: 5108: 5106: 5103: 5101: 5098: 5097: 5095: 5091: 5085: 5084: 5080: 5078: 5077: 5073: 5070: 5069: 5065: 5064: 5062: 5058: 5051: 5050: 5049:Orpheus Alive 5046: 5043: 5042: 5038: 5035: 5034: 5030: 5029: 5027: 5023: 5016: 5015: 5011: 5008: 5007: 5003: 5000: 4999: 4995: 4992: 4991: 4987: 4984: 4983: 4979: 4976: 4975: 4971: 4968: 4967: 4963: 4962: 4960: 4956: 4950: 4949: 4945: 4943: 4942: 4938: 4937: 4935: 4931: 4924: 4920: 4917: 4916: 4912: 4909: 4908: 4904: 4901: 4900: 4896: 4893: 4892: 4888: 4885: 4884: 4880: 4879: 4877: 4873: 4866: 4862: 4859: 4858: 4854: 4851: 4850: 4846: 4843: 4842: 4838: 4837: 4835: 4831: 4824: 4823: 4819: 4816: 4815: 4814:Moulin Rouge! 4811: 4808: 4807: 4803: 4800: 4799: 4795: 4792: 4791: 4787: 4784: 4783: 4779: 4776: 4775: 4774:Black Orpheus 4771: 4766: 4765: 4761: 4758: 4757: 4753: 4750: 4749: 4745: 4744: 4743: 4742: 4738: 4737: 4735: 4731: 4724: 4723: 4719: 4716: 4715: 4711: 4708: 4707: 4703: 4700: 4699: 4695: 4691: 4690: 4688: 4684: 4678: 4677: 4673: 4671: 4670: 4666: 4665: 4663: 4659: 4652: 4651: 4647: 4644: 4643: 4639: 4636: 4635: 4631: 4628: 4627: 4623: 4620: 4619: 4615: 4612: 4611: 4607: 4604: 4603: 4599: 4596: 4595: 4591: 4589:(1791, Haydn) 4588: 4587: 4583: 4579: 4576: 4575: 4573: 4572: 4568: 4565: 4564: 4560: 4557: 4556: 4552: 4549: 4548: 4544: 4542:(1647, Rossi) 4541: 4540: 4536: 4533: 4532: 4528: 4526:(1616, Belli) 4525: 4524: 4523:Orfeo dolente 4520: 4517: 4516: 4512: 4509: 4508: 4504: 4501: 4500: 4496: 4495: 4493: 4491: 4487: 4481: 4478: 4476: 4473: 4472: 4470: 4466: 4462: 4455: 4450: 4448: 4443: 4441: 4436: 4435: 4432: 4420: 4412: 4411: 4408: 4402: 4399: 4397: 4394: 4392: 4389: 4387: 4386:Prima pratica 4384: 4382: 4379: 4377: 4374: 4372: 4369: 4367: 4364: 4363: 4361: 4357: 4351: 4348: 4346: 4343: 4341: 4338: 4337: 4335: 4331: 4324: 4323: 4319: 4318: 4316: 4312: 4305: 4304: 4300: 4297: 4296: 4292: 4291: 4289: 4285: 4278: 4277: 4273: 4272: 4270: 4266: 4259: 4258: 4254: 4253: 4251: 4247: 4242: 4227: 4222: 4221: 4217: 4216: 4214: 4212: 4208: 4201: 4196: 4195: 4191: 4188: 4184: 4183:Musical items 4179: 4174: 4173: 4169: 4166: 4161: 4160: 4156: 4155: 4153: 4149: 4143: 4140: 4138: 4135: 4134: 4131: 4127: 4120: 4115: 4113: 4108: 4106: 4101: 4100: 4097: 4091: 4089: 4085: 4083: 4081: 4077: 4075: 4071: 4070: 4066: 4065: 4055: 4053:1-84451-026-3 4049: 4045: 4041: 4037: 4033: 4031:3-8290-3571-3 4027: 4022: 4021: 4015: 4011: 4007: 4001: 3997: 3992: 3988: 3984: 3979: 3975: 3973:0-521-35133-2 3969: 3965: 3961: 3960:Fabbri, Paolo 3957: 3956: 3946: 3944:0-521-24148-0 3940: 3936: 3932: 3929: 3928:Whenham, John 3925: 3921: 3919:0-521-24148-0 3915: 3911: 3906: 3902: 3900:0-521-24148-0 3896: 3892: 3888: 3885: 3881: 3877: 3875:0-09-080421-X 3871: 3867: 3863: 3859: 3855: 3853:1-57467-110-3 3849: 3845: 3841: 3837: 3833: 3829: 3828:Redlich, Hans 3825: 3821: 3819:0-674-59108-9 3815: 3811: 3807: 3803: 3799: 3797:0-13-055947-4 3793: 3789: 3788:Baroque Music 3785: 3781: 3777: 3774: 3770: 3766: 3762: 3760:0-231-08978-3 3756: 3752: 3748: 3744: 3740: 3738:0-521-24148-0 3734: 3730: 3726: 3723: 3719: 3715: 3713:0-521-24148-0 3709: 3705: 3700: 3696: 3694:0-521-24148-0 3690: 3686: 3682: 3678: 3674: 3672:0-521-24148-0 3668: 3664: 3660: 3656: 3652: 3650:0-521-24148-0 3646: 3642: 3638: 3635: 3631: 3627: 3623: 3620: 3616: 3612: 3610:0-300-09676-3 3606: 3602: 3598: 3594: 3590: 3586: 3582: 3581: 3570: 3565: 3558: 3553: 3546: 3541: 3539: 3537: 3529: 3524: 3517: 3512: 3505: 3500: 3481: 3477: 3473: 3466: 3447: 3443: 3439: 3432: 3425: 3420: 3404: 3400: 3394: 3375: 3371: 3367: 3361: 3355:, p. 93. 3354: 3349: 3343:, p. 89. 3342: 3337: 3331:, p. 68. 3330: 3325: 3314: 3310: 3306: 3302: 3295: 3288: 3283: 3276: 3271: 3269: 3267: 3265: 3256: 3252: 3248: 3244: 3240: 3233: 3227:, p. 56. 3226: 3221: 3215:, p. 97. 3214: 3209: 3198: 3194: 3190: 3186: 3182: 3181:Westrup, Jack 3176: 3168: 3161: 3154: 3149: 3142: 3137: 3130: 3125: 3123: 3121: 3114:, p. 99. 3113: 3108: 3092: 3088: 3084: 3078: 3062: 3058: 3054: 3048: 3032: 3028: 3022: 3006: 3002: 2998: 2996: 2988: 2972: 2968: 2964: 2960: 2954: 2938: 2934: 2930: 2923: 2908:on 2012-09-28 2907: 2903: 2896: 2877: 2873: 2869: 2865: 2859: 2853:, p. 105 2852: 2847: 2845: 2837: 2832: 2824: 2820: 2814: 2806: 2802: 2798: 2794: 2790: 2786: 2779: 2772: 2767: 2760: 2755: 2744: 2738: 2732:, p. 84. 2731: 2726: 2719: 2714: 2707: 2702: 2695: 2690: 2688: 2686: 2684: 2682: 2680: 2672: 2667: 2665: 2663: 2655: 2650: 2648: 2646: 2639:, p. 36. 2638: 2633: 2626: 2625:Metamorphoses 2622: 2616: 2610:, p. 39. 2609: 2604: 2597: 2592: 2586:, p. 66. 2585: 2580: 2573: 2568: 2549: 2545: 2541: 2537: 2536:Whenham, John 2531: 2529: 2527: 2525: 2523: 2521: 2519: 2517: 2515: 2513: 2496: 2492: 2490: 2481: 2474: 2469: 2467: 2460:, p. 15. 2459: 2454: 2447: 2442: 2435: 2430: 2416:on 2020-06-01 2415: 2411: 2407: 2403: 2399: 2395: 2391: 2387: 2383: 2379: 2372: 2366:, p. 21. 2365: 2360: 2353: 2348: 2341: 2336: 2329: 2324: 2317: 2312: 2310: 2308: 2300: 2295: 2288: 2283: 2281: 2279: 2272:, p. 61. 2271: 2270:Robinson 1972 2266: 2260:, p. 257 2259: 2254: 2252: 2244: 2239: 2237: 2235: 2227: 2222: 2215: 2214:Pirrotta 1984 2210: 2203: 2198: 2196: 2187: 2183: 2179: 2175: 2172:(1): 60–108. 2171: 2167: 2163: 2157: 2150: 2145: 2143: 2135: 2130: 2123: 2118: 2116: 2114: 2112: 2110: 2103:, p. 48. 2102: 2097: 2078: 2074: 2070: 2063: 2061: 2059: 2052:, p. 38. 2051: 2046: 2040:Ringer, p. 16 2037: 2030: 2025: 2018: 2013: 2011: 2003: 1998: 1996: 1994: 1986: 1981: 1962: 1958: 1954: 1950: 1944: 1938: 1933: 1931: 1929: 1909: 1905: 1901: 1897: 1891: 1887: 1875: 1871: 1867: 1861: 1854: 1848: 1841: 1837: 1833: 1832: 1825: 1816: 1809: 1805: 1798: 1791: 1787: 1781: 1777: 1765: 1763: 1762:Luciano Berio 1759: 1758:Bruno Maderna 1755: 1751: 1747: 1743: 1739: 1735: 1734:Denis Stevens 1731: 1726: 1722: 1718: 1713: 1711: 1707: 1702: 1698: 1694: 1684: 1682: 1678: 1677:Tirsi e Clori 1673: 1669: 1665: 1661: 1657: 1653: 1649: 1645: 1638: 1628: 1626: 1622: 1618: 1614: 1608: 1606: 1602: 1596: 1594: 1590: 1586: 1581: 1574: 1572: 1548: 1547: 1528: 1526: 1522: 1518: 1513: 1508: 1505: 1501: 1496: 1493: 1489: 1485: 1481: 1477: 1473: 1467: 1462: 1457: 1447: 1445: 1441: 1440: 1435: 1434: 1429: 1425: 1421: 1417: 1413: 1409: 1405: 1401: 1397: 1393: 1389: 1385: 1381: 1376: 1373: 1369: 1368: 1363: 1359: 1355: 1351: 1350:Gérard Souzay 1347: 1343: 1339: 1335: 1331: 1326: 1324: 1323:Smith College 1320: 1319:Scala Theatre 1315: 1311: 1310: 1305: 1300: 1296: 1291: 1289: 1285: 1281: 1276: 1272: 1271:Robert Eitner 1268: 1259: 1254: 1245: 1243: 1239: 1238: 1233: 1229: 1224: 1219: 1217: 1216:Duke of Savoy 1211: 1209: 1205: 1201: 1193: 1189: 1184: 1170: 1167: 1163: 1159: 1149: 1147: 1142: 1132: 1130: 1126: 1116: 1114: 1110: 1099: 1090: 1088: 1084: 1080: 1076: 1066: 1064: 1060: 1045: 1042: 1039: 1036: 1035: 1031: 1028: 1025: 1021: 1018: 1017: 1014: 1011: 1008: 1005: 1004: 1001: 998: 995: 992: 991: 988: 985: 982: 979: 978: 975: 972: 969: 966: 965: 962: 959: 956: 953: 952: 949: 946: 944: 941: 938: 937: 934: 931: 928: 925: 924: 920: 917: 914: 911: 910: 907: 904: 901: 900:mezzo-soprano 898: 895: 894: 891: 888: 886: 885:high baritone 882: 879: 876: 875: 872: 869: 866: 862: 859: 858:mezzo-soprano 856: 853: 852: 848: 845: 839: 838: 835: 831: 829: 825: 821: 816: 814: 810: 805: 801: 797: 793: 783: 781: 777: 773: 769: 763: 758: 754: 750: 745: 741: 739: 734: 729: 724: 722: 718: 714: 710: 706: 702: 698: 694: 690: 686: 682: 678: 674: 670: 666: 665:double basses 662: 658: 654: 645: 636: 633: 628: 626: 620: 617: 613: 609: 605: 604:strophic song 601: 597: 594: 590: 582: 578: 573: 564: 561: 560:Nino Pirrotta 556: 551: 549: 544: 539: 535: 531: 527: 523: 519: 515: 511: 510:Metamorphoses 507: 506: 501: 497: 496: 495:Metamorphoses 491: 486: 484: 480: 474: 469: 465: 461: 457: 453: 449: 445: 436: 422: 420: 416: 412: 408: 404: 403: 398: 394: 390: 385: 383: 379: 378: 377:Metamorphoses 373: 369: 365: 364: 359: 355: 354: 349: 345: 344: 339: 335: 331: 327: 326: 321: 317: 313: 309: 304: 302: 298: 294: 290: 286: 282: 278: 274: 270: 261: 252: 250: 246: 242: 236: 233: 229: 224: 222: 218: 217: 212: 211: 206: 202: 198: 194: 190: 186: 182: 178: 174: 170: 166: 162: 159: 155: 150: 146: 145: 139: 131: 127: 126: 115: 109: 104: 100: 96: 93: 89: 85: 81: 78: 75: 71: 66: 61: 56: 52: 47: 43: 38: 33: 19: 5173: 5109: 5081: 5074: 5067: 5047: 5040: 5032: 5012: 5004: 4996: 4988: 4982:Metamorpheus 4980: 4972: 4964: 4946: 4939: 4913: 4905: 4897: 4889: 4881: 4855: 4847: 4839: 4820: 4812: 4804: 4796: 4788: 4780: 4772: 4762: 4754: 4746: 4739: 4725:(2003, Ruhl) 4721: 4712: 4704: 4697: 4693: 4674: 4667: 4648: 4642:The Corridor 4640: 4632: 4624: 4616: 4608: 4600: 4592: 4584: 4569: 4561: 4553: 4545: 4537: 4529: 4521: 4514: 4513: 4505: 4502:(1600, Peri) 4497: 4333:Recognitions 4320: 4301: 4298:(SV 252–288) 4293: 4287:Sacred music 4274: 4255: 4218: 4192: 4171: 4170: 4157: 4087: 4079: 4068: 4043: 4019: 4014:Neef, Sigrid 3995: 3989:(45): 44–57. 3986: 3963: 3934: 3931: 3909: 3890: 3887: 3865: 3843: 3840:Ringer, Mark 3831: 3809: 3787: 3776: 3772: 3750: 3728: 3725: 3722:Glover, Jane 3703: 3684: 3662: 3659: 3640: 3637: 3625: 3622: 3600: 3588: 3569:Fortune 1986 3564: 3557:Fortune 1986 3552: 3545:Fortune 1986 3528:Fortune 1986 3523: 3511: 3504:Whenham 1986 3499: 3486:18 September 3484:. Retrieved 3475: 3465: 3452:18 September 3450:. Retrieved 3441: 3431: 3424:Fortune 1986 3419: 3409:15 September 3407:. Retrieved 3393: 3380:18 September 3378:. Retrieved 3369: 3360: 3353:Fortune 1986 3348: 3336: 3329:Whenham 1986 3324: 3304: 3300: 3294: 3282: 3246: 3242: 3232: 3220: 3213:Redlich 1952 3208: 3188: 3184: 3175: 3166: 3160: 3148: 3141:Palisca 1981 3136: 3112:Redlich 1952 3107: 3095:. Retrieved 3091:the original 3077: 3067:15 September 3065:. Retrieved 3047: 3035:. Retrieved 3021: 3009:. Retrieved 2994: 2987: 2975:. Retrieved 2966: 2953: 2943:15 September 2941:. Retrieved 2932: 2922: 2912:15 September 2910:. Retrieved 2906:the original 2895: 2882:14 September 2880:. Retrieved 2871: 2858: 2851:Fortune 1986 2836:Fortune 1986 2831: 2822: 2813: 2788: 2784: 2778: 2771:Whenham 1986 2766: 2759:Rolland 1986 2754: 2747:(in Italian) 2737: 2730:Fortune 1986 2725: 2720:, p. 6. 2713: 2706:Fortune 1986 2701: 2654:Fenlon 1986a 2632: 2624: 2619:see, e. g., 2615: 2608:Palisca 1981 2603: 2596:Whenham 1986 2591: 2584:Whenham 1986 2579: 2567: 2554:12 September 2552:. Retrieved 2548:the original 2543: 2501:22 September 2499:. Retrieved 2488: 2480: 2458:Redlich 1952 2453: 2446:Fenlon 1986a 2441: 2429: 2418:. Retrieved 2414:the original 2385: 2381: 2371: 2359: 2347: 2335: 2323: 2299:Whenham 1986 2294: 2289:, p. 20 2265: 2245:, p. 19 2221: 2209: 2169: 2165: 2156: 2129: 2122:Fenlon 1986b 2096: 2081:. Retrieved 2077:the original 2072: 2045: 2036: 2024: 2019:, p. 26 2002:Fenlon 1986a 1980: 1965:. Retrieved 1961:the original 1956: 1943: 1937:Fenlon 1986a 1912:. Retrieved 1908:the original 1903: 1890: 1874:Glyndebourne 1866:New York Met 1860: 1847: 1840:John Whenham 1829: 1824: 1815: 1797: 1780: 1717:Jack Westrup 1714: 1700: 1692: 1690: 1676: 1671: 1643: 1641: 1617:John Whenham 1609: 1597: 1592: 1585:1610 Vespers 1577: 1568: 1545: 1524: 1511: 1509: 1503: 1499: 1497: 1471: 1470: 1465: 1437: 1431: 1427: 1415: 1377: 1371: 1365: 1353: 1327: 1307: 1304:Jack Westrup 1299:New York Met 1292: 1266: 1263: 1257: 1241: 1235: 1222: 1220: 1212: 1208:Ducal Palace 1203: 1199: 1197: 1191: 1155: 1138: 1122: 1105: 1096: 1083:Greek chorus 1072: 1056: 1029:Act 1, 2, 5 846:Appearances 832: 819: 817: 813:Hans Redlich 799: 791: 789: 748: 746: 742: 737: 725: 716: 704: 696: 692: 680: 676: 668: 660: 650: 631: 629: 621: 595: 588: 586: 576: 552: 533: 529: 521: 513: 509: 503: 493: 487: 478: 443: 441: 418: 400: 392: 386: 381: 375: 361: 351: 341: 336:singing and 323: 316:Jacopo Corsi 305: 300: 295:'s court at 288: 280: 266: 244: 237: 231: 225: 220: 214: 208: 181:Greek legend 160: 152:, is a late 143: 142: 124: 123: 122: 95:Greek legend 5206:1607 operas 5060:Video games 4966:Reflections 4578:discography 4325:(2007 film) 4211:Lost operas 3634:Fenlon, Ian 3597:Carter, Tim 3516:Ringer 2006 3341:Ringer 2006 3301:Early Music 3287:Ringer 2006 3243:Early Music 3129:Ringer 2006 3001:BBC Radio 3 2825:(140): 735. 2718:Carter 2002 2671:Carter 2002 2637:Ringer 2006 2540:"Orfeo (i)" 2473:Carter 2002 2434:Glover 1986 2328:Glover 1986 2316:Glover 1986 2226:Carter 2002 2202:Ringer 2006 2101:Carter 2002 2083:5 September 2050:Carter 2002 2029:Ringer 2006 1985:Ringer 2006 1967:4 September 1949:Carter, Tim 1914:4 September 1896:Carter, Tim 1808:Glover 1986 1804:Carter 2002 1760:(1967) and 1748:(1976) and 1742:Jane Glover 1660:Helmut Koch 1625:Shakespeare 1519:, of which 1446:in Madrid. 1444:Teatro Real 1006:Eco (Echo) 865:en travesti 843:Voice type 760: [ 757:double harp 697:arpa doppia 673:kit violins 671:), and two 653:Jane Glover 567:Composition 471: [ 407:Mark Ringer 330:Jacopo Peri 205:Jacopo Peri 154:Renaissance 5221:Proserpina 5180:Categories 4948:Poem Strip 4468:Characters 4314:Depictions 4175:(SV 318) ( 3964:Monteverdi 3476:Gramophone 3442:Gramophone 3370:Gramophone 3225:Grout 1971 3153:Grout 1971 3097:23 October 2420:2018-04-19 1883:References 1613:chitarrone 1571:media help 1521:Palestrina 1492:ritornelli 1480:recitative 1125:Proserpina 828:Tim Carter 792:personaggi 776:reed pipes 701:chitarroni 608:recitative 534:L'Euridice 464:Fernandino 312:intermedio 228:intermedio 97:of Orpheus 73:Librettist 5006:Reflektor 4990:Hadestown 4852:(c. 1480) 4841:Sir Orfeo 4669:Hadestown 4610:L'Orfeide 4223:(SV 291) 4220:L'Arianna 4197:(SV 325) 4162:(SV 308) 3636:(1986a). 2402:0003-0139 2352:Beat 1968 2340:Beat 1968 1788:, led by 1706:Carl Orff 1589:leitmotiv 1517:polyphony 1488:sinfonias 1237:L'Arianna 1141:soliloquy 1043:Act 3, 4 905:Act 1, 4 870:Prologue 460:Francesco 350:, Peri's 249:polyphony 171:, with a 5041:Chaconne 4925:" (2021) 4867:" (1999) 4865:Eurydice 4722:Eurydice 4694:Eurydice 4661:Musicals 4650:Eurydice 4507:Euridice 4499:Euridice 4475:Eurydice 4419:Category 4279:(SV 153) 4260:(SV 167) 3962:(1994). 3930:(1986). 3886:(1986). 3864:(1972). 3842:(2006). 3830:(1952). 3808:(1984). 3786:(1981). 3771:(1969). 3749:(1971). 3724:(1986). 3621:(1968). 3599:(2002). 3480:Archived 3446:Archived 3403:Archived 3374:Archived 3061:Archived 3031:Archived 3011:26 March 3005:Archived 2977:26 March 2971:Archived 2937:Archived 2933:Prospect 2876:Archived 2538:(2007). 2495:Archived 1951:(2007). 1898:(2007). 1855:in 1832. 1756:(1967), 1744:(1975), 1740:(1969), 1736:(1967), 1732:(1965), 1687:Editions 1652:La Scala 1603:and the 1601:cornetts 1500:Euridice 1476:madrigal 1412:La Scala 1232:Salzburg 1190:, where 1079:Euridice 1053:Synopsis 861:castrato 753:cornetto 721:citterns 711:, and a 689:cornetts 685:sackbuts 657:continuo 522:Euridice 505:Georgics 483:castrato 444:Euridice 430:Libretto 425:Creation 419:Euridice 399:'s play 363:Euridice 353:Euridice 334:madrigal 320:Camerata 308:Florence 216:Euridice 203:. While 197:Carnival 193:Eurydice 173:libretto 108:Carnival 102:Premiere 91:Based on 83:Language 5130:Portals 5117:Orphism 5093:Related 5033:Orpheus 4790:Parking 4563:Orpheus 4515:L'Orfeo 4480:Orpheus 4359:Related 4172:L'Orfeo 4088:L'Orfeo 4080:L'Orfeo 4069:L'Orfeo 3578:Sources 2995:L'Orfeo 2935:(132). 2627:XI 1-66 2489:L'Orfeo 1831:Inferno 1701:L'Orfeo 1693:L'Orfeo 1672:L'Orfeo 1644:L'Orfeo 1621:moresca 1580:toccata 1546:L'Orfeo 1525:L'Orfeo 1512:L'Orfeo 1504:L'Orfeo 1484:monodic 1472:L'Orfeo 1466:L'Orfeo 1428:L'Orfeo 1416:L'Orfeo 1372:L'Orfeo 1356:critic 1267:L'Orfeo 1260:in 1904 1258:L'Orfeo 1242:L'Orfeo 1223:L'Orfeo 1204:L'Orfeo 1200:L'Orfeo 1192:L'Orfeo 1162:Bacchus 1158:maenads 1146:moresca 1129:Plutone 1109:Caronte 1063:toccata 980:Apollo 796:moresca 790:In his 749:L'Orfeo 738:L'Orfeo 679:). The 663:), two 632:L'Orfeo 589:L'Orfeo 583:in 1609 577:L'Orfeo 548:maenads 530:L'Orfeo 479:L'Orfeo 382:L'Orfeo 368:Orpheus 273:prodigy 269:Cremona 245:L'Orfeo 232:L'Orfeo 221:L'Orfeo 185:Orpheus 158:Baroque 156:/early 125:L'Orfeo 86:Italian 65:Orpheus 40:L'Orfeo 18:L’Orfeo 5201:Operas 5071:(2020) 5052:(2019) 5044:(1976) 5036:(1948) 5025:Ballet 5017:(2019) 5009:(2013) 5001:(2010) 4998:Orfeas 4993:(2010) 4985:(2005) 4977:(2004) 4969:(1970) 4958:Albums 4918:(2003) 4910:(1999) 4902:(1987) 4894:(1973) 4886:(1967) 4875:Novels 4860:(1922) 4833:Poetry 4825:(2012) 4817:(2001) 4809:(1999) 4801:(1989) 4793:(1985) 4785:(1975) 4777:(1959) 4767:(1960) 4759:(1950) 4756:Orphée 4751:(1930) 4249:Ballet 4050: 4028: 4002: 3970: 3941: 3916: 3897: 3872: 3850: 3816: 3794: 3757: 3735: 3710: 3691: 3669: 3647: 3607: 3169:: 111. 3037:11 May 2805:913262 2803: 2410:830706 2408: 2400: 2186:831035 2184: 1868:, the 1392:Mantua 1344:under 1059:Thrace 1012:Act 5 1009:tenor 999:Act 1 986:Act 5 983:tenor 973:Act 4 960:Act 4 947:Act 3 932:Act 3 918:Act 2 849:Notes 728:Thrace 602:, the 581:Venice 543:Medici 516:, and 500:Virgil 338:monody 297:Mantua 201:Mantua 141:), or 132:318) ( 114:Mantua 110:season 5168:Music 5156:Opera 5068:Hades 4806:Orfeu 4733:Films 4686:Plays 4547:Orfeo 4539:Orfeo 4268:Scena 4151:Opera 2801:JSTOR 2406:JSTOR 2182:JSTOR 1773:Notes 1605:regal 1450:Music 1135:Act 5 1119:Act 4 1102:Act 3 1093:Act 2 1087:Hymen 1075:Orfeo 1069:Act 1 970:bass 881:tenor 840:Role 820:Orfeo 786:Roles 780:Hades 772:regal 764:] 733:Hades 713:regal 593:ballo 475:] 325:Dafne 279:, the 210:Dafne 189:Hades 167:, by 165:opera 163:, or 106:1607 32:Orfeo 4048:ISBN 4026:ISBN 4000:ISBN 3968:ISBN 3939:ISBN 3914:ISBN 3895:ISBN 3870:ISBN 3848:ISBN 3814:ISBN 3792:ISBN 3755:ISBN 3733:ISBN 3708:ISBN 3689:ISBN 3667:ISBN 3645:ISBN 3605:ISBN 3488:2010 3454:2010 3411:2010 3382:2010 3099:2017 3069:2010 3039:2016 3013:2014 2979:2014 2945:2010 2914:2010 2884:2010 2621:Ovid 2556:2010 2503:2010 2398:ISSN 2085:2010 1969:2010 1916:2010 1872:and 1784:The 1482:and 1436:and 1186:The 1113:Styx 1077:and 1024:alto 943:bass 600:aria 490:Ovid 462:and 372:Ovid 356:and 4933:Art 4185:· " 3309:doi 3251:doi 3193:doi 2793:doi 2390:doi 2174:doi 1834:by 1408:BBC 1398:in 1390:in 883:or 766:(a 502:'s 492:'s 413:to 374:'s 346:by 207:'s 199:at 183:of 175:by 48:by 5182:: 4189:") 4181:· 3985:. 3535:^ 3474:. 3440:. 3368:. 3305:21 3303:. 3263:^ 3247:39 3245:. 3241:. 3189:21 3187:. 3119:^ 3085:. 3059:. 3055:. 2999:. 2969:. 2965:. 2931:. 2874:. 2870:. 2843:^ 2799:. 2789:65 2787:. 2678:^ 2661:^ 2644:^ 2623:, 2511:^ 2465:^ 2404:. 2396:. 2386:18 2384:. 2380:. 2306:^ 2277:^ 2250:^ 2233:^ 2194:^ 2180:. 2170:34 2168:. 2141:^ 2108:^ 2057:^ 2009:^ 1992:^ 1927:^ 1595:. 1430:, 1148:. 867:) 782:. 762:it 606:, 473:it 384:. 243:, 219:, 130:SV 5132:: 4921:" 4863:" 4696:/ 4453:e 4446:t 4439:v 4118:e 4111:t 4104:v 4056:. 4034:. 4008:. 3976:. 3947:. 3922:. 3903:. 3878:. 3856:. 3822:. 3800:. 3763:. 3741:. 3716:. 3697:. 3675:. 3653:. 3613:. 3490:. 3456:. 3413:. 3384:. 3315:. 3311:: 3257:. 3253:: 3199:. 3195:: 3101:. 3071:. 3041:. 3015:. 2997:" 2981:. 2947:. 2916:. 2886:. 2807:. 2795:: 2749:. 2558:. 2505:. 2491:" 2423:. 2392:: 2188:. 2176:: 2087:. 1971:. 1918:. 1876:. 1639:. 1573:. 863:( 675:( 667:( 128:( 34:. 20:)

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