Whether consciously recognized or not, the Greek myth of Orpheus has permeated visual and performing art forms across ancient and popular culture. From classical literature to Arcade Fire’s 2013 release, Reflektor, the story of Orpheus and Eurydice has been told and retold throughout the ages, including the presentation of the beautiful opera by the Ralph Opera Program at Colorado State University of Orfeo ed Euridice by Christoph Willibald Gluck on Oct. 25-28.

Orpheus, musician and poet of mythological legend, was said to have the ability to charm all living things with his voice. When his beloved Eurydice dies of a fatal snake bite, Orpheus descends into the darkness of the Underworld to ask for her return, hoping his voice can soften the hearts of the gods. His request is granted, but Orpheus must walk in front of Eurydice and not look back until they reach the upper world. Will he overcome the temptation? 

The opera was highly anticipated—Empress Maria Theresa attended the first performance in Vienna in 1762—and, in contrast to the age-old story, the structure of the popular opera itself was extremely influential, marking the first ‘reform’ opera by the German composer. 

These compositional modifications make Orfeo ed Euridice the transitional piece out of Baroque opera, and therefore, a critical educational opportunity for CSU opera and orchestral students.

Until this time, opera seria—operas typically based upon historical figures or a classical story line and presented in Italian—was complex, featuring many arias in an A-B-A (da capo) that focused upon the virtuosity of the singers rather than the story itself. Gluck’s reform operas sought to bring the focus to the story by eliminating virtuosic writing for the singers and incorporating the chorus and ballet into the action.

Ralph Opera Program director Tiffany Blake explains. “In Baroque operas, the A-B-A form returns [to the original melody], even without a reason to do so, and the voice would ornament it and show off, but Gluck wanted to create more momentum in the drama.” According to Blake, Gluck prioritized storytelling over show casing the voice.

Enter the chorus

Blake finds that Gluck’s shift to storytelling makes the opera a great selection for a college opera program. “One of the things that is really wonderful about the work is that it highlights a few students in individual roles, but the chorus is the main role in the opera after Orpheus,” said the director about the chorus’ responsibility for carrying the bulk of the drama.

“I’ve often heard students say ‘I’m just in the chorus,’ but they are the relatives and loved ones of Orpheus and Eurydice, they are the furies, they are the blessed spirits…that the chorus plays three very different characters, [being in the chorus] has more meaning in this production,” she added.

For Blake, a focus of the early rehearsal schedule has been an emphasis on the chorus’ character development. In addition to vocal growth, Blake has had her students explore physical movement exercises, building themselves as actors, even while they develop the vocal chops to sing the leads in the coming years.

The collaborative nature of opera

Audiences at the last couple of Ralph Opera Program productions have enjoyed the inclusion of CSU Dance students. This time, senior dance major, Mary Rodgers, has written original choreography for several dance students who portray the ghost of Eurydice, the three cherubs who accompany Amor, and perform the ballets: “The Dance of the Furies” and “The Dance of the Blessed Spirits.”

“The music of the furies in the second act is very exciting and the movement of the chorus and the dancing really builds upon that excitement,” said Blake.

Blake is also looking forward to the lighting effects that illuminate the translucent walls designed by theatre instructor, Zhanna Gurvich, creating the various scenarios in the upper and under worlds. “The way it looks will be different than what people have seen before on the CSU stage,” said Blake as a verbal sneak peek.