Orfeo ed Euridice, an opera by Gluck. Metropolitan Opera House. James Levine conducting; David Daniels (Orfeo), Maija Kovalevska (Euridice), Heidi Grant Murphy (Amor), directed and choreographed by Mark Morris. When this production was first announced, there were four geniuses associated with the new mounting of Gluck’s masterwork: James Levine (conductor), Isaac Mizrahi (costume designer) Mark Morris (choreographer and director) and the sublime Lorraine Hunt Lieberson. The tragic death of Lorraine Hunt Lieberson forced a major shift in the focus of the production and her place was taken by a countertenor, David Daniels. For one thing, it is unlikely that the 1762 version of Orfeo (the first by Gluck) would have been used for Lorraine Hunt Lieberson. My guess is it would have been the brilliant 19th century adaptation by Berlioz (based on Gluck’s 1774 version) or a mixed version along the lines most familiar to opera goers and as was used the last time the Met staged the opera (1970).
Because the Met no longer has a powerhouse Orfeo (perhaps it was too late to sign mezzo sopranos of the caliber of Anne Sofie Von Otter, Susan Graham, Joyce di Donato, or Magdalena Kozena to name just a handful), the major shift occurring in this new production has the centrality of interest residing squarely in the dance, the chorus (both always crucial in Gluck) the ideal conducting by James Levine, the splendid Euridice of Maija Kovalevska and the colorful and dramtic sets and costumes. Not that David Daniels is at all bad. He gives as good as he has to give, smooth countertenor singing, generalized emotions, sincerity (his best asset in my opinion) but he lacks the power in the key moments – his cries of “Euridice!” do not register and his “Trionfi Amore” which launches the glorious conclusion is underpowered.
All of this being said this evening’s performance and new production was a great triumph. It all begins with the conducting of James Levine. I’ve seen many performances of the 1762 Orfeo and have heard every recording as well. Levine’s is by far the best conducting, fast when needed, tender and always expressive -- I have never heard the Metropolitan Opera Orchestra play better. Most all modern productions of Orfeo, both live and on records have eschewed the dance, so the conductors (mostly of the early music variety like John Eliot Gardiner) have raced through the dance movements like they’re late for a train. Here, for once, the dances are conducted for dancers. How wonderful to hear and to see! At last, here is an opera production at the Met in which the all important dance elements have been given equal treatment with the vocal. Mark Morris once devised an Orfeo production in Brooklyn that was all dance. It was a marvelous experience, but as part of this ensemble, he is even better here. His dances are inspired from first to last (those last gloriously happy dances are like the sun itself). I’ve discussed the virtues and shortcomings of David Daniels. He has a big following and they will not be disappointed. He was lustily cheered. Heidi Grant Murphy sang sweetly but she seemed to have a little trouble getting her words out, and her sound was small. She was very charming however and the audience loved her. Maija Kovalevska was fabulous as Euridice; singing with a powerful but always clear and rich tone, she nailed a perfect trill in her aria. She was lovely to look at and was affecting as the revived beloved wife.
The sets will be controversial perhaps. Big unit sets which take a lot of groaning movement from stage hands do allow for the effective placement of the chorus who are very active. This surprising chorus is made up of dead celebrities from the past including Lincoln, Mark Twain, Henry VIII, Oscar Wilde, Gandhi and even Babe Ruth. I’m guessing the inspiration comes from the Powell and Pressberger film “Stairway to Heaven.” I loved it, but some may not. There is an enormous staircase which is a metaphor that I found profound. But this was not all seriousness. Amor capers quite a bit and people expecting gloomy Gluck will be surprised to find themselves laughing at times. All in all this was marvelous and when a truly great Orfeo takes center stage, it will be pure magic. As it is, I give it a solid A- in the Broadway Bridge and Tunnel Test.