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PAN PIPES • WINTER 2016 • sai-national.org 16 previous settings of the story, occurring in the last moments of Act II of this three-act opera e musical style has evolved to something audiences will recognize as more Baroque. e opera is divided clearly into recitatives, arias, duets, etc. Recitatives are speech-like passages in which the action moves forward. Arias, duets, and ensembles tend to be more contemplative, with characters expressing their feelings or wishes instead of acting on their plans. Some of the arias in this setting are even known out of the context of the opera, such as Eurydice's Act I "Quando un core." In this, she tells three other characters that when a heart is happy, it has no reason to look further for something else. She is happy with Orpheus, and she refuses to even consider Aristeus. (See Table 2) In the next scene, she has an aria that makes sensual use of chromaticism. is shows a mature Eurydice who is well aware of the pleasures of love, not the innocent maiden we saw in the Monteverdi. (See Table 3) dddPerhaps her most compelling music is her death scene. e majority of the scene involves an argument between Eurydice, her nurse, and Aristeus. But at the end, Aristeus stops speaking, and Eurydice, now delirious, sings to her nurse before finally dying. is is more of a recitative, not an aria. (See Table 4) Eurydice's most powerful moment occurs in Act III, when her ghost drives Aristeus to death. In this way, she eliminates her own enemy, and the one she blamed for her own death. is is a recitative between the two characters, in the opera. Here is how Eurydice begins the scene: (See Table 5) Orpheus, in the meantime, fails as always in his directive to resist looking back. In Rossi's ending, Venus rallies Bacchus's followers to avenge Aristeus's death by murdering Orpheus, but Jupiter intervenes to turn Orpheus, his lyre, and Eurydice into constellations. is is the first of many operas in which Bacchus's followers murder or try to murder Orpheus. e only notable and available Orpheus and Eurydice opera of the 1800s is Jacques Offenbach's Orphée aux enfers (or Orpheus in the Underworld) of 1858. Offenbach was a master of French operetta, parodying both French Grand Opera and French high society. In his Orphée, every character is frivolous and self-centered. Both mortals and Gods exhibit changing affections and cheat on each other throughout. Orpheus and Eurydice are unhappily married, making this the first of the French operas with this theme that contradicts the original myth. Pluto disguises himself as the shepherd Aristeus. He and Eurydice have an affair, and he intentionally positions the snake and lures Eurydice toward it, and her death. Since he is God of the underworld, he has better access to her when she is dead than when she is alive. Orpheus pursues Eurydice only at the urging of a character known as either Calliope or Public Opinion. At the climax, Orpheus looks back because Jupiter throws a thunderbolt at him. Eurydice joins the entourage of Bacchus (which for once does not kill Orpheus), Orpheus is happily free of her, and everyone dances the iconic can-can. Eurydice sings in 7 out of 17 sung musical numbers, or 45 pages out of 301, and is on stage for even more time. is makes her a significant character in the opera. In her first of three arias, she parodies Eurydice's usual declarations of love for Orpheus. (See Table 6) WOMEN IN OPERA Atto Primo Scena 2a Mio ben, teco il tormento Più dolce io troverei Che con altri il contento Ogni dolcezza è sol dove tu sei, E per me, Amor a duna Nel girar de' tuoi sguardi ogni fortuna. First Act Scene 2a My love, with you the torment More sweet I will find an with others the happiness Every sweetness is only where you are, And for me, Love gathers In the turning of your glances every fortune. Atto Primo Scena 9a Ohime, Nutrice, io moro! Io moro, e di già queste Miei luci s'incominciano (ahi, destino!) A coprir di caligini funeste. Non inviaste alcuna A cercar del mio sposo? Deh! Mira Dunque se viene, e pur ch'io lo riveda Pria ch'affatto sia spenta, Morirò, morirò almen contenta, Orfeo, mio dolce Orfeo, Hà ben potuto, ohimè, nemica sorte Far del nostro gioir l'hore sì corte, Ma non potrà già far ch l'alma mia In eterno non t'ami e tua non sia. E non si scorge ancora? Ahi, che più sempre S'addensane le tenebre a' miei lumi! O Ninfe! O Cieli! O Numi! E negar si potea Al mio morir queso ultimo conforto, D'una sol volta almen veder Orfeo? Ah! Ch'io moro! E non giunge? Orfeo, ben mio, Prendi l'estremo addio. First Act Scene 9a Alas, Nurse, I die! I die, and from already these My eyes they begin (ah, destiny!) To cloud with funereal mists. Have you not sent anyone To search for my husband? Ah! erefore see if he comes, and yet I see him again Before the light is turned off, I will die, I will die at least content, Orpheus, my sweet Orpheus, Could have well, alas, enemy fate To make of our joy the hour so short, But it could never make my soul In eternity not love you and not be yours. And he is not seen yet? Ah, that more always Grows the darkness in my eyes! Oh Nymphs! Oh Heavens! Oh Gods! And you deny To my death this last comfort, Of a single time to see Orfeus? Ah! at I die! And he does not come? Orfeus, my love, Take the last farewell. TABLE 4 TABLE 3 EURYDICE from page 15

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