NEW YORK CITY– For a journey to heck and back, the Metropolitan Opera’s season-ending resurgence of Christoph Willibald Gluck’s “Orfeo ed Eurydice” is a journey loaded with pleasure.
The “lovely simpleness” that Gluck called his “biggest work” in establishing the Orpheus misconception (and the “honorable simpleness” that the poet Ranieri d’ Calzabigi in a similar way looked for in his libretto) is shown in choreographer Mark Morris’s revitalized hosting. Visible in every facet. And equally as that 18th-century set avoided the extras of Baroque opera-seria, Morris’ manufacturing– which premiered in 2007– overturns misconception right into extra conceptualism with routinely arranged wow minutes. This is a crisp, tidy, commonly entertaining and entirely spellbinding manufacturing– the type of thoughtful, well-crafted opera we can utilize even more of.
