PR in Ancient mythology. K.V. Gluck "Orpheus and Eurydice": analysis, music Brief history of Orpheus and Eurydice

With a libretto (in Italian) by Raniero da Calzabigi, based on Greek mythology.

Characters:

ORPHEUS, singer (contralto or tenor)
EURYDICE, his wife (soprano)
AMUR, god of love (soprano)
BLESSED SHADOW (soprano)

Time period: mythical antiquity.
Setting: Greece and Hades.
First production: Vienna, Burgtheater, October 5, 1762; production of the second edition (in French), libretto by P.-L. Molina: Paris, Royal Academy of Music, August 2, 1774.

Orpheus was the greatest musician in Greek mythology. Indeed, he was so great that an entire religion arose - Orphism, and Orpheus was worshiped as a god some twenty-five centuries ago. Therefore, his story always seemed very natural for opera. Indeed, the earliest opera score that has come down to us is based on the plot of Orpheus. This is Eurydice by Jacopo Peri. It dates from around 1600, and several more operas about Orpheus were written soon after. Composers of the 18th and 19th centuries continued to refer to this character; Among the newest authors one can name Darius Milhaud.

But the only operatic version of this plot that can be heard today is Gluck's Orpheus and Eurydice. By the way, this is the earliest opera traditionally performed in modern theaters, and it dates back to 1762. On October 5 this year, the composer conducted its premiere in Vienna. Then it was in Italian, and the role of Orpheus was played by Gaetano Guadagni, a castrato, that is, a male alto. The opera was later staged in France, where castrati were not accepted on stage, and Gluck rewrote this part for tenor. But in our time (except for productions in France), as a rule, the Italian version is given, and the role of Orpheus is played by a contralto - that is, naturally, a female contralto.

Gluck and his librettist, Raniero da Calzabigi, omitted many of the details found in the Orpheus myth, with the result that not much action occurs on stage. But we are gifted with many choral numbers (especially in the first act), as well as numerous ballet inserts. Due to the lack of action, this opera loses almost nothing in concert performance, and also retains its merits better than others in audio recording.

ACT I

Orpheus has just lost his beautiful wife Eurydice, and the opera begins (after a rather bouncy overture) in a grotto in front of her tomb. First accompanied by a chorus of nymphs and shepherds, and then alone, he bitterly mourns her death. Finally, he decides to bring her back from the underworld. He sets out to take control of Hades, armed only with tears, inspiration and the lyre. But the gods took pity on him. Cupid, that little god of love (that is, Eros, or Cupid) tells him that he can go down to the underworld. “If the tender lyre delights, if your melodious voice humbles the anger of the rulers of this fatal darkness,” Cupid assures Orpheus, “you will lead her away from the dark abyss of hell.” Orpheus needs to fulfill only one condition: not to turn around and not cast a single glance at Eurydice until he brings her, unharmed, back to the ground. This is precisely the condition that Orpheus - he knows about this - will find most difficult to fulfill, and he prays to the gods for help. At this moment, the sound of drums represents thunder, lightning flashes - this is how the beginning of his dangerous journey is marked.

ACT II

The second act takes us to the underworld - Hades - where Orpheus first defeats the Furies (or Eumenides) and then receives his wife Eurydice from the hands of the Blessed Shadows. The chorus of furies is dramatic and terrifying, but gradually, as Orpheus plays the lyre and sings, they soften. This is extremely simple music, it perfectly conveys the drama of what is happening. The rhythmic pattern of this episode appears more than once in the opera. Finally, the Furies dance a ballet that Gluck had composed a little earlier to depict Don Juan's descent into hell.

Elysium is a beautiful kingdom of Blissful shadows. The scene, at first dimly lit as if by the dawn, is gradually filled with morning light. Eurydice appears, sad, with a wandering gaze; she yearns for her absent friend. After Eurydice leaves, the scene is gradually filled with Blessed Shadows; they walk in groups. All this is the well-known “Gavotte Dance of the Blessed Shadows” with its extraordinarily expressive flute solo. After Orpheus leaves with the Furies, Eurydice sings with the Blessed Shadows about their quiet life in Elysium (the heavenly afterlife of bliss). After they disappear, Orpheus reappears. He is alone and now sings of the beauty that appears before his eyes: “Che puro ciel! Che chiaro sol!” (“Oh, radiant, marvelous view!”). The orchestra enthusiastically plays a hymn to the beauty of nature. Attracted by his singing, the Blessed Shadows return again (their choir sounds, but they themselves are still invisible). But now a small group of these Blessed Shadows brings Eurydice, whose face is covered with a veil. One of the Shadows joins the hands of Orpheus and Eurydice and removes Eurydice's veil. Eurydice, having recognized her husband, wants to express her delight to him, but the Shadow gave a sign to Orpheus not to turn his head. Orpheus, walking ahead of Eurydice and holding her hand, climbs her along the path at the back of the stage, heading towards the exit from Elysium. At the same time, he does not turn his head towards her, well remembering the condition set to him by the gods.

ACT III

The last act begins with Orpheus leading his wife back to earth through a rocky landscape, dark passages, winding paths, and dangerously overhanging cliffs. Eurydice knows nothing of the fact that the gods have forbidden Orpheus even a fleeting glance at her before they reach earth. While they move like this, Eurydice gradually transforms from the Blessed Shadow (as she was in the second act) into a real living woman with a hot temperament. She, not understanding the reasons for Orpheus’s behavior, bitterly complains about how indifferent he now treats her. She addresses him now tenderly, now enthusiastically, now with bewilderment, now with despair; she grabs Orpheus by the hand, trying to attract attention to herself: “Just give me one look...” she begs. Does Orpheus no longer love his Eurydice? And while Orpheus convinces her otherwise and complains to the gods, she becomes more and more persistent. In the end she tries to drive him away: “No, go away! It’s better for me to die again and forget you...” At this dramatic moment, their voices merge. And so Orpheus challenges the gods. He turns his gaze to Eurydice and embraces her. And the moment he touches her, she dies. The most famous moment in the opera comes - the aria “Che faro senza Euridice?” (“I lost Eurydice”). In despair, Orpheus wants to commit suicide with a blow of a dagger, but at the last moment the little god of love, Cupid, appears to him. He stops Orpheus in this desperate impulse and passionately calls out: “Eurydice, rise again.” Eurydice seems to awaken from a deep sleep. The gods, says Cupid, were so amazed by Orpheus’s loyalty that they decided to reward him.

The final scene of the opera, which takes place in the temple of Cupid, is a series of solos, choruses and dances in praise of love. This is a much happier ending than the one we know from mythology. According to the myth, Eurydice remains dead, and Orpheus is torn to pieces by the Thracian women in indignation that, selflessly indulging in sweet sorrow, he neglected them. The 18th century, however, preferred happy endings to its tragic operas.

Henry W. Simon (translated by A. Maikapara)

With the contralto singer (castrato) Gaetano Guadagni in the title role, the “performance” was a complete success, although it was not without negative ratings - perhaps because of the performance, which Gluck himself found unsatisfactory. The score was soon published in Paris - evidence of the high importance that French culture attached to opera. In Italy, the opera was first staged in a revised form in 1769 at the Court of Parma as part of a triptych called "The Celebrations of Apollo". In 1774, it was the turn of the Paris production: a new poetic text in French, the addition of vocal, dance and instrumental episodes, as well as new touches that made the orchestration even more magnificent.

The best moments of the Paris production were two new instrumental numbers: the dance of the furies and ghosts in hell and the dance of the blessed souls in Elysium. The first dance is borrowed from the ballet Don Juan, staged by Gluck in 1761, which, thanks to the choreographic discoveries of Jean-Georges Noverre, can be considered a dramatic masterpiece of its kind. The Dance of the Furies goes back to a scene from Rameau’s opera “Castor and Pollux”, the content of which was, however, much more ironic, while in Gluck this episode is distinguished by its terrifying, unbridled, grandiose force, and in it Tasso’s “infernal trumpet” sounds like an imperious warning , penetrating every nook and cranny of the stage. Adjacent to this fragment, displaying a strikingly bold combination of contrasts, is a scene of the dance of blessed souls, as if in a dream, evoking the lightest, sweetest memories of our ancestral home. In this feminine atmosphere, the noble outlines of the flute melody come to life, sometimes timid, sometimes impetuous, depicting the peace of Eurydice. Orpheus is also amazed by this picture and sings a hymn to the full of sounds, uplifting nature with its running waters, the chirping of birds and the fluttering of the breeze. Hidden melancholy is diffused in the picture created by the famous singer, shrouded in a gentle haze of love. It is a pity that in Paris the contralto was replaced by a tenor, which is not able to rise to such sublime, magical spheres. For the same reason, the pure beauty that permeated Orpheus’s famous aria “I Lost Eurydice” was lost, regarded by many because of its C major as more suitable for depicting rejoicing than suffering, as a formal error. However, this criticism is unfair. Orpheus could express indignation at the cruel condition in this aria, but he makes an effort of will to stay at the height of his duty, to preserve his own dignity. In addition, the figurations and sequence of intervals add tenderness to the melody. This just shows the mental confusion of Orpheus, his restless desire for the one who, it would seem, is no longer destined to return. The hero’s behavior will turn out to be even more convincing and exciting if we remember that during the meeting with his wife, she downright tormented him by attacking him. him with reproaches almost in the tradition of comic opera. But a flashing ray of light will still lead the opera to a happy ending. A premonition of such an end was given to us even in the first act by the playful advice of Cupid, who, being the voice of the heart, will guide Orpheus through the sad land of Eurydice (here again an echo of Rameau’s “Castor and Pollux” is heard), abolish the laws of the afterlife and give him the gift of the gods.

G. Marchesi (translated by E. Greceanii)

History of creation

The ancient plot about the devoted love of Orpheus and Eurydice is one of the most common in opera. Before Gluck, it was used in the works of Peri, Caccini, Monteverdi, Landi and a number of minor authors. Gluck interpreted and embodied it in a new way. Gluck's reform, first carried out in Orpheus, was prepared by many years of creative experience, work in major European theaters; He was able to put his rich, flexible craftsmanship, perfected over decades, at the service of his idea of creating a sublime tragedy.

The composer found an ardent like-minded person in the person of the poet Raniero Calzabigi (1714-1795). From the numerous versions of the legend of Orpheus, the librettist chose the one set out in Virgil’s Georgics. In it, ancient heroes appear in majestic and touching simplicity, endowed with feelings accessible to an ordinary mortal. This choice reflected a protest against the false pathos, rhetoric and pretentiousness of feudal-noble art.

In the first edition of the opera, shown on October 5, 1762 in Vienna, Gluck had not yet completely freed himself from the traditions of ceremonial performances - the part of Orpheus was entrusted to the viola castrato, the decorative role of Cupid was introduced; The ending of the opera, contrary to the myth, turned out to be happy. The second edition, shown in Paris on August 2, 1774, differed significantly from the first. The text was re-written by de Molina. Orpheus’s part became more expressive and natural; it was expanded and given to the tenor. The scene in hell ended with the music of the finale from the ballet Don Juan; The famous flute solo, known in concert practice as Gluck’s “Melody,” was introduced into the music of “Blessed Shadows.”

In 1859, Gluck's opera was revived by Berlioz. Pauline Viardot performed the role of Orpheus. Since then, there has been a tradition of the singer performing the title role.

Music

"Orpheus" is rightly considered a masterpiece of the musical and dramatic genius of Gluck. In this opera, for the first time, music is so organically subordinated to dramatic development. Recitatives, arias, pantomimes, choruses, and dances fully reveal their meaning in connection with the action unfolding on stage, and, when combined, give the entire work amazing harmony and stylistic unity.

The opera's overture is not musically connected to the action; according to the existing tradition, it is sustained in lively movement and a cheerful character.

The first act is a monumental funeral fresco. The sound of funeral choirs is majestic and sad. Against their background, the lamentations of Orpheus appear, full of passionate sorrow. In the solo episode of Orpheus, the expressive melody “Where are you, my love”, in the spirit of lamento (plaintive lament), is repeated three times with echo. It is interrupted by dramatic appealing recitatives, which, like an echo, are echoed by the orchestra behind the stage. Cupid's two arias (one of them written for the Paris production) are elegant and beautiful, but have little connection with the dramatic situation. The second aria “Heaven’s command to fulfill haste”, set in the rhythm of a minuet, captivates with its playful grace. At the end of the act, a turning point occurs. The final recitative and aria of Orpheus are of a strong-willed, impetuous nature, affirming heroic features in him.

The second act, the most innovative in concept and execution, is divided into two contrasting parts. In the first, choirs of spirits sound eerily menacing, performed in unison with trombones - instruments first introduced into the opera orchestra in the Paris edition of Orpheus. Along with the sharp harmonies and “fatal” rhythm, the orchestra’s glissando, depicting the barking of Cerberus, is intended to produce an impression of horror. Swift passages and sharp accents accompany the demonic dances of the furies. All this is countered by Orpheus’ tender aria to the accompaniment of the lyre (harp and strings off stage) “I conjure, I beg, have mercy, have mercy on me.” The elegiacally colored smooth melody becomes more excited and active, the singer’s request becomes more insistent. The second half of the act is designed in light pastoral colors. The pipes of the oboe, the quiet flowing sound of the violins, and the light transparent orchestration convey a mood of complete tranquility. The melancholic melody of the flute is expressive - one of the remarkable revelations of Gluck's musical genius.

The disturbing, gusty music of the introduction to the third act paints a gloomy fantastic landscape. The duet “Trust the tender passion of Orpheus” receives intense dramatic development. Eurydice's despair, her excitement, and sorrowful lamentations are conveyed in the aria “O Unfortunate Lot.” The grief of Orpheus and the sadness of loneliness are captured in the famous aria “I Lost Eurydice.” The opera ends with a ballet suite and a jubilant chorus, where Orpheus, Cupid, and Eurydice perform alternately as soloists.

M. Druskin

Gluck's reform opera gave rise to the famous dispute between the Piccinists and the Gluckists (after the performance of the 2nd edition of the opera in Paris in 1774). The composer's attempts to overcome the traditions of opera seria (contrasting the recitative aria with its conventional feelings, cold decoration), his desire to subordinate the musical material to the logic of dramatic development did not immediately find understanding among the public. However, the success of subsequent works ends this dispute in favor of Gluck. In Russia it was first performed in 1782 (by an Italian troupe), the first Russian production was in 1867 (St. Petersburg). A significant event was the 1911 performance at the Mariinsky Theater (dir. Meyerhold, director Napravnik, choreography by M. Fokin, designer A. Golovin, title roles by Spanish Sobinov, Kuznetsova-Benois). Among modern productions, we note the Parisian performance of 1973 (Hedda as Orpheus, directed by R. Clair, choreography by J. Balanchine), Kupfer’s work at the Komische Oper (1988, J. Kowalski in the title role).

Discography: CD - EMI. Dir. Gardiner, Orpheus (von Otter), Eurydice (Hendrix), Cupid (Fournier).

Orpheus, the great singer, son of the river god Eager and the muse of song Calliope, lived in Thrace. His wife was the tender and beautiful nymph Eurydice. The beautiful singing of Orpheus and his playing of the cithara not only captivated people, but also enchanted plants and animals. Orpheus and Eurydice were happy until a terrible misfortune befell them. One day, when Eurydice and her nymph friends were picking flowers in a green valley, a snake hidden in the thick grass waylaid them and stung Orpheus’ wife in the leg. The poison spread quickly and ended her life. Hearing the mournful cry of Eurydice's friends, Orpheus hurried into the valley and, seeing the cold body of Eurydice, his tenderly beloved wife, fell into despair and groaned bitterly. Nature deeply sympathized with him in his grief. Then Orpheus decided to go to the kingdom of the dead to see Eurydice there. To do this, he goes down to the sacred river Styx, where the souls of the dead have accumulated, whom the carrier Charon sends to the domain of Hades. At first, Charon refused Orpheus' request to transport him. But then Orpheus played his golden cithara and charmed the gloomy Charon with wonderful music. And he transported him to the throne of the god of death Hades. In the midst of the cold and silence of the underworld, Orpheus’ passionate song sounded about his grief, about the torment of his broken love for Eurydice. Everyone who was nearby was amazed by the beauty of the music and the strength of his feelings: Hades, and his wife Persephone, and Tantalus, who forgot about the hunger that tormented him, and Sisyphus, who stopped his hard and fruitless work. Then Orpheus stated his request to return his wife Eurydice to earth. Hades agreed to fulfill it, but at the same time stated his condition: Orpheus must follow the god Hermes, and Eurydice will follow him. During his journey through the underworld, Orpheus cannot look back: otherwise Eurydice will leave him forever. When Eurydice's shadow appeared, Orpheus wanted to hug her, but Hermes told him not to do this, since in front of him was only a shadow, and there was a long and difficult path ahead.

Quickly passing the kingdom of Hades, the travelers reached the River Styx, where Charon ferried them on his boat to a path leading steeply up to the surface of the earth. The path was cluttered with stones, darkness reigned all around, and the figure of Hermes loomed ahead and there was barely a glimmer of light, which indicated that the exit was close. At that moment, Orpheus was overcome with deep anxiety for Eurydice: was she keeping up with him, was she lagging behind, was she getting lost in the darkness. After listening, he did not discern any sound behind him, which exacerbated the uneasy feeling. Finally, unable to bear it and breaking the ban, he turned around: almost next to him he saw the shadow of Eurydice, stretched out his hands to her, but at the same moment the shadow melted into the darkness. So he had to relive the death of Eurydice a second time. And this time it was my own fault.

Overcome by horror, Orpheus decides to return to the shores of the Styx, re-enter the kingdom of Hades and pray to God to return his beloved wife. But this time Orpheus’ pleas did not move old Charon. Orpheus spent seven days on the banks of the Styx, but never softened Charon’s harsh heart, and on the eighth he returned to his place in Thrace.

Four years passed after Eurydice's death, but Orpheus remained faithful to her, not wanting marriage with any of the women. One day in early spring, he sat down on a high hill, took a golden cithara in his hands and began to sing. All nature listened to the great singer. At this time, women-bacchantes, possessed by rage, appeared, celebrating the festival of the god of wine and fun, Bacchus. Noticing Orpheus, they rushed at him shouting: “Here he is, the hater of women.” Seized by a frenzy, the bacchantes surround the singer and shower him with stones. Having killed Orpheus, they tear his body into pieces, tear off the singer’s head and throw him, along with his cithara, into the fast waters of the Hebra River. Carried away by the current, the strings of the cithara continue to sound, mourning the singer, and the shore responds to them. All nature mourns Orpheus. The singer's head and his cithara are carried out to sea by the waves, where they float to the island of Lesbos. Since then, wonderful songs have been heard on the island. The soul of Orpheus descends into the kingdom of shadows, where the great singer meets his Eurydice. Since then, their shadows have been inseparable. Together they wander through the gloomy fields of the kingdom of the dead.

Images of poetic myth are extremely popular in world art. Based on his motives, paintings by the great painters Tintoretto, Rubens, Bruegel were painted; the opera “Orpheus” was created by Verdi and Gluck, the ballet “Orpheus” by I. Stravinsky; Jacques Offenbach wrote the operetta Orpheus in Hell. The original interpretation of the myth was given by the American playwright Tennessee Williams in the drama “Orpheus Descends to Hell.” For many years, the international festival of singers “Golden Orpheus” was held in Sopot, Poland.

Ancient Greek myth "Orpheus and Eurydice"

Genre: Ancient Greek myth

The main characters of the fairy tale "Orpheus and Eurydice" and their characteristics

Orpheus, a talented singer. Loyal, loving, fearless, impatient.
Eurydice, young, beautiful, timid.
Hades, the dark god of the underworld. Severe, but fair and a little romantic.
Charon, the ferryman across the Styx. Gloomy, stern, unsociable.

Plan for retelling the fairy tale "Orpheus and Eurydice"

Orpheus and his wife Eurydice
Tragedy in the forest
Orpheus is looking for a way to the underworld
Orpheus enchants Charon
Orpheus in the Palace of Hades
Orpheus sings for Hades
Orpheus' request
Hades condition
Haste of Orpheus
The loneliness of Orpheus.

The shortest summary of the fairy tale "Orpheus and Eurydice" for a reader's diary in 6 sentences

The beautiful Eurydice fell in love with the singer Orpheus and became his wife.
One day in the forest she was bitten by a snake and Eurydice was carried away by the god of death.
Orpheus went to search for the kingdom of the dead and found the River Styx.
Charon did not want to transport Orpheus, but he began to sing and no one dared to refuse him.
Orpheus came to Hades' palace, sang his song, and Hades released Eurydice's shadow.
Orpheus turned around at the exit of the cave and Eurydice's shadow flew away.

The main idea of the fairy tale "Orpheus and Eurydice"
There are no barriers to love except your own haste.

What does the fairy tale "Orpheus and Eurydice" teach?
The fairy tale teaches true and selfless love. Teaches you to strive to always be with your loved one, teaches you not to part with your loved ones. Teaches not to be afraid of obstacles, long journeys, night shadows. Teaches you to be brave, even fearless. Teaches that talent is respected everywhere. Teaches you not to be hasty, and to keep agreements with those who are stronger than you exactly.

Review of the fairy tale "Orpheus and Eurydice"
I liked this romantic story, although of course it’s a pity that Orpheus, having traveled such a long and dangerous path, could not resist and be patient for a couple more minutes. Then Eurydice would be free. But excessive haste ruined the whole thing. But Orpheus himself managed to descend into the kingdom of the dead and return alive.

Proverbs for the fairy tale "Orpheus and Eurydice"
The quieter you go, the further you'll get.
Speed is necessary, but haste is harmful.
For my dear, seven miles is not the outskirts.
Great love is not quickly forgotten.
The master's work is afraid.

Read a summary, a brief retelling of the fairy tale "Orpheus and Eurydice"
The famous singer Orpheus lived in Ancient Greece. Everyone really liked his songs, and the beautiful Eurydice fell in love with him for his songs. She became the wife of Orpheus, but they were not together for long.
It so happened that soon Eurydice was frightened by the noise in the forest, ran and carelessly stepped on a snake’s nest. She was bitten by a snake and Orpheus, who ran to his wife’s screams, saw only the black wings of the bird of death, which was taking Eurydice with it.
Orpheus' grief was immeasurable. He retired to the forests and there he poured out his longing for his beloved in songs.
And so great was his grief, so piercing were his songs that the animals came out to listen to them, and the trees surrounded Orpheus. And Orpheus prayed for death in order to meet Eurydice at least in the halls of death. But death did not come.
And then Orpheus himself went in search of death. In Tenara's cave, he found a stream that flowed into the underground river Styx, and along the bed of the stream descended to the banks of the Styx. Beyond this river began the kingdom of the dead.
Behind Orpheus, the shadows of the dead crowded around, waiting for their turn to cross the Styx. And then a boat landed on the shore, driven by the carrier of dead souls, Charon. The souls began to board the boat and Orpheus asked Charon to transport him to the other side.
But Charon pushed Orpheus away, saying that he only carries the dead. And then Orpheus began to sing. He sang so well that the dead shadows listened to him, and Charon himself listened to him. And Orpheus entered the boat and demanded to be taken to the other side. And Charon obeyed, enchanted by the music.
And Orpheus crossed into the land of the dead, and walked along it in search of Eurydice, continuing to sing. And the dead made way for him. This is how Orpheus reached the palace of the god of the underworld.
Hades himself and his wife Persephone sat on the throne in the palace. Behind them stood the god of Death, folding his black wings, and Kera crowded nearby, taking the lives of warriors on the battlefield. Here the judges judged the souls.
In the corners of the hall, Memories hid in the shadows, lashing souls with whips made of living snakes.
And Orpheus saw many other monsters in the Underworld - Lamius, who steals children at night, Empusa, with donkey legs, who drinks the blood of people, Stygian dogs.
Only the young god of sleep, Hypnos, rushed around the hall joyfully. He gave everyone a wonderful drink, which made everyone fall asleep.
And so Orpheus began to sing. The gods listened to him in silence, bowing their heads. And when Orpheus finished, Hades asked him what he wanted for his singing, and promised to fulfill any of his wishes.
And Orpheus began to ask Hades to let his Eurydice go, because sooner or later she would still return to the kingdom of the dead. And Orpheus began to beg Persephone to intercede for him before Hades.
Hades agreed to return Eurydice to Orpheus, but set one condition. Orpheus should not have seen his beloved while she followed him like a shadow. Only after emerging from the kingdom of the dead into the sunlight could Orpheus look back. Orpheus agreed and ordered Hades the shadow of Eurydice to follow the singer.
So they passed through the kingdom of the dead and Charon transported them across the Styx. They began to climb up the cave and daylight already appeared ahead. And then Orpheus could not stand it and turned around, he wanted to check whether Eurydice was really following him. For a moment he saw the shadow of his beloved, but she immediately flew away.
Orpheus rushed back and sobbed for a long time on the banks of the Styx, but no one responded to his pleas. Then Orpheus returned to the world of the living and lived a long life alone. But he remembered his beloved and sang her in his songs.

Drawings and illustrations for the fairy tale "Orpheus and Eurydice"

The story of Orpheus and Eurydice is a tragic love story. Perhaps one of the most famous Greek myths, it has inspired many important artists such as Peter Paul Rubens and Nicolas Poussin.

In addition, many operas, songs and plays were written in honor of these two great lovers who tragically lost the opportunity to enjoy their love.

The story of Orpheus and Eurydice has been told in many versions with slight differences between them. The earliest account comes from Ibek (c. 530 BC), a Greek lyric poet. We hereby present to you a mixture of these different versions.

Orpheus, talented in music

Orpheus is known as the most talented music player of ancient times. It is said that the god Apollo was his father, from whom he took his exceptional talent in music, and the Muse Calliope was his mother. He lived in Thrace, in the northeastern part of Greece.

Orpheus had a divinely gifted voice that could charm everyone who heard it. When he was first introduced to the lyre as a child, he quickly mastered it. The myth says that no god or mortal can resist his music, and even stones and trees will move next to him.

According to some ancient texts, Orpheus is accredited to teach agriculture, writing, and medicine to mankind. He is also credited with being an astrologer, seer and founder of many mystical rites. The strange and ecstatic music of Orpheus would intrigue the minds of people with things beyond the natural and allow the mind to be expanded with new and unusual theories.

However, in addition to musical talent, Orpheus also had an adventurous character. He was believed to have taken part in the Argonaut Expedition, which is the journey of Jason and his fellow Argonauts to reach Colchis and steal the Golden Fleece.

In fact, Orpheus played a vital role during the expedition because by playing his music, he put the "sleepless dragon" who was guarding the Golden Fleece to sleep, and thus Jason managed to obtain the Fleece. Moreover, Orpheus' music saved the Argonauts from the sirens, strange effeminate creatures who seduced men with their pleasant voices and then killed them.

Love at first sight

Orpheus spent much of his early years in idyllic pursuits of music and poetry. His skill far surpassed the fame and respect of his music. Both people and animals will be fascinated by it, and often even the most inanimate objects will long to be near it.

In his youth he mastered the lyre, and his melodious voice attracted his audiences from afar. It was at one such meeting of people and animals that his gaze fell on a wooden nymph. The girl's name was Eurydice, she was beautiful and shy.

She was drawn to Orpheus, enchanted by his voice, and it was a spell of beauty in music and appearance that neither could take their eyes off the other. Something inexplicable touched the hearts of the two young people, and soon they felt tender love, unable to spend a single moment from each other. After some time they decided to get married.

Their wedding day dawned bright and clear. Hymen, the god of marriage, blessed their marriage and a great feast followed. The environment was filled with laughter and fun. Soon the shadows grew large, signaling the end of the revelry that had lasted most of the day, and all the wedding guests said goodbye to the newlyweds, who were still sitting hand in hand and starry-eyed. Soon they both realized that it was time for them to go and went home.

Snake bite

However, soon everything will change, and grief will bring happiness. There was one man who despised Orpheus and wanted Eurydice for himself. Aristaeus, a shepherd, developed a plan to conquer a beautiful nymph. And there he was, waiting in the bushes for a young couple to pass by. Seeing the lovers approaching, he intended to jump on them and kill Orpheus. When the shepherd made his move, Orpheus grabbed Eurydice by the hand and began to run through the forest.

The chase was long, and Aristaeus showed no signs of giving up or slowing down. Again and again they ran, and Orpheus suddenly felt Eurydice stumble and fall, her hand slipping from his grasp. Unable to understand what had just happened, he rushed towards her, but stopped in confusion because his eyes perceived the deathly pallor that covered her cheeks.

Looking around, he did not see any traces of the shepherd, because Aristaeus witnessed this event and left. A few steps away, Eurydice stepped on a nest of snakes and was bitten by a deadly viper. Knowing that there was no chance of survival, Aristaeus abandoned the attempt, cursing his luck and Orpheus.

Supernatural Plan

After the death of his beloved wife, Orpheus was no longer the same carefree person as he had been before. His life without Eurydice seemed endless and could not do anything for her except grief. That's when he had a great, but still crazy idea: he decided to go to the underworld and try to get his wife back. Apollo, his father, spoke to Hades, the god of the underworld, to accept him and hear his plea.

Armed with his weapon, lyre and voice, Orpheus approached Hades and demanded entry into the underworld. Nobody disputed it. Standing before the rulers of the dead, Orpheus said why he was there in a voice that was both sad and anxious. He played his lyre and sang to King Hades and Queen Persephone that Eurydice had been returned to him. Even the most carefree people or gods could not ignore the pain in his voice.

Hades wept openly, Persephone's heart melted, and even Cerberus, the giant three-headed hound dog who guarded the entrance to the underworld, covered his ears with his paws and howled in despair. Orpheus' voice was so touching that Hades promised this desperate man that Eurydice would follow him to the Upper World, the world of the living.

However, he warned Orpheus that out of the blue he should look back while his wife was still in the dark, because it would destroy everything he hoped for. He should wait until Eurydice comes into the world before he looks at her.

With great faith in his heart and joy in his song, Orpheus began his journey from the underworld, joyful that he would be reunited with his love again. When Orpheus reached the exit from the Underworld, he heard the footsteps of his wife approaching him. He wanted to turn around and hug her immediately, but he managed to control his feelings.

As he approached the exit, his heart beat faster and faster. The moment he stepped onto the world of the living, he turned his head to hug his wife. Unfortunately, he only caught a glimpse of Eurydice before she was pulled back into the underworld.

When Orpheus turned his head, Eurydice was still in the dark, she could not see the sun and, as Hades warned Orpheus, his sweet wife had drowned in the dark world of the dead. Waves of anguish and despair washed over him and, shuddering with grief, he again approached the Underworld, but this time he was denied entry, the gates were closed, and the god Hermes, sent by Zeus, did not let him inside.

Death of Orpheus

Since then, the heartbroken musician has wandered, disoriented, day after day, night after night, in complete despair. He could find no consolation in anything. His misfortune tormented him, causing him to abstain from associating with any other woman, and slowly but surely he found himself avoiding their company entirely. His songs were no more joyful, but extremely sad. His only consolation was to lie on a huge rock and feel the caress of the wind, his only vision was the open sky.

And so it happened that a group of angry women, furious at his contempt for them, attacked him. Orpheus was so desperate that he did not even try to repel their advances. The women killed him, cut his body into pieces and threw them and his lyre into the river.

It is said that his head and lyre floated downstream to the island of Lesbos. The Muses found them there and gave Orpheus a proper burial ceremony. People believed that his grave radiated music, plaintive but beautiful. His soul descended to Hades, where he was finally reunited with his beloved Eurydice.

Comparison with a biblical scene

If you carefully observe the above myth, you will find a comparison between this ancient Greek myth and a scene from the Bible. The myth of Orpheus and Eurydice is similar to the story of Lot. The analogy of “not looking back” is important to both stories.

In the Book of Genesis, when God decided to destroy Sodom and Gomorrah, two cities drowned in sin, he ordered a good man, Lot, to take his family and leave the area. God told them to go to the mountains without looking back at the city being destroyed.

As they were leaving the city, Lot's wife couldn't help but turn around to see the cities burning. She was immediately transformed into a pillar of salt! This can be done as a direct and terrible consequence of disobedience to God.

"Orpheus and Eurydice"(Italian: Orfeo ed Euridice) - an opera by K. F. Gluck, created in 1762 based on the plot of the Greek myth of Orpheus. The opera marked the beginning of Gluck's "opera reform", aimed at achieving an organic fusion of music and drama and subordinating musical development to dramatic development. The original version of the libretto was written Ranieri de Calzabigi in Italian. The opera premiered on October 5, 1762 at the Burgtheater in Vienna. The part of Orpheus was performed by a castrato viola Gaetano Guadagni.

Subsequently, the opera was revised by the author, and in 1774 a new edition was prepared with a libretto in French, authored by P.-L. Molina. This version of the opera was first presented to the public on August 2, 1774 in Paris, in Royal Academy of Music. In the 1774 edition, the part of Orpheus was written for a different voice: not an alto (as in the original), but a tenor.

In 1859, G. Berlioz prepared his own version of the opera, where the part of Orpheus is intended for a female voice (mezzo-soprano or contralto).

History of creation

K. V. Gluck

The original version of the libretto was written Ranieri de Calzabigi in Italian.

Subsequently, the opera was revised by the author, and in 1774 a new edition was prepared with a libretto in French, authored by P.-L. Molina. In the 1774 edition, the part of Orpheus was written for a different voice: not an alto (as in the original), but a tenor.

In 1859, G. Berlioz prepared his own edition of the opera.

Characters

The consignment	Voice	Performer at the premiere Vienna, October 5, 1762 (Conductor: Christoph Willibald Gluck)	Performer at the premiere of the second edition Paris, August 2, 1774 (Conductor: Louis-Joseph Francoeur)	Performer at the premiere of G. Berlioz's edition Paris, November 19, 1859 (Conductor: Hector Berlioz)
Orpheus	Castrate-alto (first edition), tenor or countertenor (second edition), mezzo-soprano (edited by G. Berlioz)	Gaetano Guadagni	Joseph Legros	Pauline Viardot
Amur	soprano	Marianna Bianchi	Sophie Arnoux	Marie Marimon
Eurydice	soprano	Lucia Clavro	Rosalie Levasseur	Marie-Constance Sass

The opera takes place in ancient Hellas during prehistoric times. The plot of the opera is taken from an ancient myth, which has many different versions. The librettist of the original edition of the opera, Ranieri de Calzabigi, chose the version contained in Virgil's Georgics.

Production history

The revised version of the opera was first presented to the public on August 2, 1774 in Paris, in Royal Academy emias of music.

The opera "Orpheus and Eurydice" was the first work in which Gluck implemented new ideas. Its premiere in Vienna on October 5, 1762 marked the beginning of operatic reform. Gluck wrote the recitative so that the meaning of the words came first, the orchestra's part was subordinate to the general mood of the stage, and the singing static figures finally began to play, showed artistic qualities, and the singing would be united with the action. The singing technique has been significantly simplified, but it has become more natural and much more attractive to listeners. The opera's overture also served to introduce the atmosphere and mood of the action that followed. In addition, Gluck turned the chorus into a direct component of the flow of the drama. The wonderful uniqueness of “Orpheus and Eurydice” lies in its “Italian” musicality. The dramatic structure is based on complete musical numbers, which, like the arias of the Italian school, captivate with their melodic beauty and completeness.

In the first edition of the opera, presented on October 5, 1762 in Vienna, Gluck had not yet completely freed himself from the traditions of ceremonial performances - the part of Orpheus was entrusted to the viola castrato, the decorative role of Cupid was introduced; The ending of the opera, contrary to the myth, turned out to be happy. The second edition, which premiered in Paris on August 2, 1774, differed significantly from the first. The text has been re-written

de Molinoy. The part of Orpheus became more expressive and natural; it was expanded and given to the tenor. The scene in hell ended with the music of the finale from the ballet Don Juan; The famous flute solo, known in concert practice as Gluck’s “Melody,” was introduced into the music of “Blessed Shadows.”

In 1859, Gluck's opera was revived by Berlioz. Pauline Viardot performed the role of Orpheus. Since then, there has been a tradition of the singer performing the title role.

Summary

In a beautiful secluded grove of laurels and cypresses is the tomb of Eurydice. Orpheus mourns his girlfriend. Shepherds and shepherdesses, sympathizing with him, call on the spirit of the deceased to hear the groans of her husband. They light a sacrificial fire and decorate the monument with flowers. Orpheus asks to be left alone with his sad thoughts. In vain he calls upon Eurydice - he only echoes the name of his beloved in the valley, forests, and among the rocks. Orpheus begs the gods to return his beloved or take his life.

Cupid appears; he declares the will of Zeus: Orpheus is allowed to descend into hell, and if the voice of the singer and the sounds of his lyre touch the wicked, he will return with Eurydice. Orpheus must fulfill only one condition: not to look at his wife until they reach Earth, otherwise Eurydice will be lost forever. Orpheus's selfless love is ready to withstand all tests.

Thick, dark smoke shrouds the mysterious area, occasionally illuminated by flashes of hellfire. Furies and underground spirits start a wild dance. Orpheus appears playing the lyre. The spirits try to intimidate him with terrible visions. Orpheus calls to them three times, begging them to ease his suffering. Through the power of art, the singer manages to soften them. The spirits admit themselves defeated and open the way to the underworld for Orpheus.

A miraculous transformation takes place. Orpheus finds himself in Elysium - a beautiful kingdom of blissful shadows. Here he finds Eurydice's shadow. Earthly anxieties are alien to her; the peace and joy of a magical land have enchanted her. Orpheus is amazed by the beauty of the landscape, wonderful sounds, and birdsong. But he can only be happy with Eurydice. Without turning around, Orpheus takes her hand and hurriedly leaves.

A gloomy gorge with overhanging rocks and intricate paths appears again. Orpheus is in a hurry to bring Eurydice out of him. But the beloved is upset and alarmed: her husband never looked at her. Has he grown cold towards her, has her beauty faded? Eurydice's reproaches cause Orpheus unbearable mental pain, but he is unable to disobey the gods. Again and again, Eurydice begs her husband to turn his gaze to her. It is better for her to die than to live unloved. Desperate Orpheus gives in to her requests. He looks back and Eurydice falls dead. Orpheus' inconsolable grief knows no bounds. He is ready to stab himself with a dagger, but Cupid stops him. The husband proved his fidelity, and by the will of the gods, Eurydice comes to life again.

A crowd of shepherds and shepherdesses joyfully greets the heroes, entertaining them with singing and cheerful dancing. Orpheus, Eurydice and Cupid glorify the all-conquering power of love and the wisdom of the gods.