Orfeo ed Euridice by Christoph Willibald Von Gluck
Irish National Opera in co-production with United Fall
“Orfeo ed Euridice: An opera of intense, crisp energy ****” (Irish Times)
“It's a triumph for all...truly unmissable” (Sunday Independent)
Irish National Opera, a co-production with United Fall in partnership with Irish Baroque Orchestra
Presented in association with Galway International Arts Festival
Premiere: Galway International Arts Festival 2018
Townhall Theatre July 23-29
Nationwide Tour February 2019
Cast & Creative Team
Orfeo Sharon Carty
Euridice Sarah Power
Amore Emma Nash
Soprano Emma Nash
Mezzo Soprano (Orfeo cover) Dominica Williams
Tenor Fearghal Curtis
Bass Matthew Mannion
Javier Ferrer Machin
Director / Choreographer Emma Martin
Conductor Peter Whelan
Set Designer Sabine Dargent
Costume Designer Catherine Fay
Lighting Designer Stephen Dodd
Assistant Director Emmanuel Obeya
Irish National Opera Chorus
Irish Baroque Orchestra
Myths and dreams are from the same source. They come from within ourselves. Heaven, hell and all the Gods are there too. They manifest themselves in dreams and through the conflicting energies in our bodies.
I absolutely love the story of Orpheus and Euridice. It is the story of humanity and of the things that keep us going: love and wonder. It’s about loss and the relentless march of time. Time is sorrow. We lose it moment by moment, and are bound because of our inability to go back or reverse it.
The Orfeo of the opera, like Jesus or Moses, is a prophet who goes where people rarely dare to venture. He descends into the dark unknown, into himself. To me Gluck’s Orfeo ed Euridice is like an epic poem. It’s a sort of spiritual journey through the realms of the Gods, trailing a thin bright line into hell. Into the abyss. Into the sublime. Although Orfeo is able to talk with the gods, in this story he’s just a man alone, naked and vulnerable, on a journey to meet face to face with death and truth. Just like all of us. Euridice in death is complete — the state of death is a life of its own. She is already root and time and space, inhabiting a deeper state than Orfeo. She lies hidden in an excess of light and bliss where dualities are non-existent, where there is no separation between male or female, or between good or evil.
Orfeo’s glance towards Euridice was inevitable, the last hurdle before his journey is complete. The veil between the known and unknown has become transparent, allowing a view of life from the side of death.
Emma Martin- July 2018