Guest Post: Gluck's Orpheus and Eurydice by LA Opera

Arnold Böcklin's painting "Isle of the Dead" - design inspiration

This weekend, I flew into Los Angeles for an annual convention, and what better way to take a bit of time to one’s self than to take in the sights and of course catch the opera! But before we get to the opera, let me just say, WHAT SIGHTS! I elected to stay at the historic Millennium Biltmore Hotel in downtown LA—"the home of Hollywood glamour” (according to their website). The 1923 hotel is a designated historic landmark featuring frescos and murals, carved-marble fountains and columns, crystal chandeliers, and embroidered tapestries. It is positively stunning and the perfect prelude to a night enjoying an Italian-turned-French opera.

photo: Ken Howard

So, it is now Thursday night, the opening night of LA Opera’s production of Christoph Willibald Gluck’s 1774 revised version of Orphée et Eurydice (libretto by Pierre-Louis Moline). This was my first time to experience LA Opera and my excitement was high. Much of that excitement surrounded that of viewing (and enjoying) director and choreographer John Neumeier’s work with the renown Chicago-based dance company, Joffrey Ballet. According to David Gregson of Opera West (see his review here), this company’s performance of Orphée et Eurydice is “one of the loveliest stage productions of any kind that I have seen in ages.” And he is spot on! Known for his diligent work in the preservation of ballet tradition, Neumeier (a Midwest native and Marquette grad) never fails to deliver a fresh, modern approach to his choreographies as well as to his sets and costumes (both of which he stunningly designed for this production). A favorite was the incredibly creative take on the beast, Cerberus, the three-headed hound of Hades, and the fact that not only does Neumeier’s dancers dance but his sets do too! (Hint: look throughout the production, but ESPECIALLY look at the start of the third act).

photo: Ken Howard

This is not the first time Gluck’s initial attempt at the reformation of opera seria—i.e., his trying to move away from abstruse plots and overly complex music toward nobler simplicity in both score and drama—has made it to the operatic stage in LA. Back in 1990 as well as in 2003, the work was performed in its original 1762 Italian version. But now we hear it in its French renaissance. The scoring of the original title role as alto castrato (often performed nowadays by a mezzo soprano) has been replaced by le haute-contre (that is, the high tenor voice). And, tonight, we heard Russian vocalist Maxim Mironov in the title role of Orphée spinning such sweet tones as to truly calm furies, tame beasts, and inspire resurrection. His performance of “Laissez-vous toucher” followed by the arias “Ah! La flamme” and “La tendresse” were performed with such longing and vulnerability (and yet also with such command) as to truly merit entrance into the realm of Hades. And his aria from Act III, “J’ai perdu mon Eurydice” (“What shall I do without Eurydice?”) featured singing of such raw emotion, such pathos, that one listening could not help but feel his tremendous loss within his or her own inmost being.

photo: Ken Howard

Which brings me to our leading lady, Lisette Oropesa—our “love found” and (spoiler alert) love lost again. I could never get enough of her voice. Oropesa demonstrated a refined technical prowess and artistic understanding of what it means to sing late-Baroque opera. Impressive to hear and a joy to watch, Oropesa was a delight from beginning to end. And, Liv Redpath, who played Amour (traditionally the god of Love but in this production, Orphée’s assistant), has been heralded by Opera News as “the sky itself ha[ving] been rendered into sound”—such high praise for one playing a “goddess-like” character. She shone brightly in both voice and acting.

photo: Ken Howard

All in all, tonight’s performance was positively splendid. And, could it be anything but? I mean, with two stellar leads, a fabulous support, a choreographer of choreographers leading a top-flight dance company, a masterful choirmaster and operatic conductor in his own right, Grant Gershon (whom Minnesotan audiences might remember from his 2007 MN Opera debut conducting the world premiere of Ricky Ian Gordon's “The Grapes of Wrath”), and a conductor and music director par excellence? Speaking of the music director, JamesConlon lead an exceptional performance, one most worthy of the LA Opera stage. My excitement was well placed! This production was everything I was expecting it to be and so much more!

More performances will follow on the 18th, 21st, 24th, and 25th of March. If around LA area, I strongly encourage attendance. It will be a night to remember!

Guest Review by Mark Rodriguez