Euridice (opera)
Encyclopedia
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
by Jacopo Peri
Jacopo Peri
Jacopo Peri was an Italian composer and singer of the transitional period between the Renaissance and Baroque styles, and is often called the inventor of opera...
, with additional music by Giulio Caccini
Giulio Caccini
Giulio Caccini , also known as Giulio Romano, was an Italian composer, teacher, singer, instrumentalist and writer of the very late Renaissance and early Baroque eras. He was one of the founders of the genre of opera, and one of the single most influential creators of the new Baroque style...
. (Caccini wrote his own "Euridice
Euridice (Caccini)
Euridice is an opera in a prologue and one act by the Italian composer Giulio Caccini. The libretto, by Ottavio Rinuccini, had already been set by Caccini's rival Jacopo Peri in 1600. Caccini's version of Euridice was first performed at the Pitti Palace, Florence on 5 December 1602...
" even as he supplied music to Peri's opera, published this version before Peri's was performed, in 1600, and got it staged two years later.) The libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
by Ottavio Rinuccini
Ottavio Rinuccini
Ottavio Rinuccini was an Italian poet, courtier, and opera librettist at the end of the Renaissance and beginning of the Baroque eras...
is based on books X and XI of Ovid
Ovid
Publius Ovidius Naso , known as Ovid in the English-speaking world, was a Roman poet who is best known as the author of the three major collections of erotic poetry: Heroides, Amores, and Ars Amatoria...
's Metamorphoses
Metamorphoses (poem)
Metamorphoses is a Latin narrative poem in fifteen books by the Roman poet Ovid describing the history of the world from its creation to the deification of Julius Caesar within a loose mythico-historical framework. Completed in AD 8, it is recognized as a masterpiece of Golden Age Latin literature...
which recount the story of the legendary musician Orpheus
Orpheus
Orpheus was a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on his ability to charm all living things and even stones with his music; his attempt to retrieve his wife from the underworld; and his death at the hands of those who...
and his wife Euridice. The opera was first performed in Florence
Florence
Florence is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area....
on October 6, 1600.
Background and performance history
Euridice was created for the marriage of King Henry IV of FranceHenry IV of France
Henry IV , Henri-Quatre, was King of France from 1589 to 1610 and King of Navarre from 1572 to 1610. He was the first monarch of the Bourbon branch of the Capetian dynasty in France....
and Maria de Medici. The composition is typically considered to be the second work of modern opera, and the first such musical drama to survive to the present day. (The first, Dafne
Dafne
Dafne is the earliest known work that, by modern standards, could be considered an opera. It was composed by Jacopo Peri in 1597, with a libretto by Ottavio Rinuccini.-History:...
, was written by the same authors in 1597.)
Since both the libretto and score were dedicated to the new Queen of France, Marie de' Medici, some scholars have recognized a possible parallel between Euridice and Orfeo and the King and Queen of France. While the comparison is readily made, some scholars argue that the traits of King Henry IV are different from Orfeo, especially with respect to Orfeo's most famous deed. Orfeo loved Euridice so much that he journeyed to Hell and back, quite literally, to unite once more with his beloved wife while King Henry IV wouldn't travel as far as Florence to retrieve Medici.
The Opera was first performed in the Palazzo Pitti
Palazzo Pitti
The Palazzo Pitti , in English sometimes called the Pitti Palace, is a vast mainly Renaissance palace in Florence, Italy. It is situated on the south side of the River Arno, a short distance from the Ponte Vecchio...
on 6 October, 1600, with Peri himself singing the title role. Many of the other roles were filled by members of Caccini's entourage, including his daughter Francesca Caccini
Francesca Caccini
Francesca Caccini was an Italian composer, singer, lutenist, poet, and music teacher of the early Baroque era. She was the daughter of Giulio Caccini, and was one of the best-known and most influential female European composers between Hildegard of Bingen in the 12th century and the 19th century...
. Peri composed all of the music for the first production, but owing to the integral involvement of Caccini and his performers, some of Peri's music was finally replaced by that of Caccini. When Caccini discovered that Peri intended to publish the Opera with the added Caccini pieces, he rushed to finish his own version of Euridice using the same libretto, and managed to have his published before Peri's. In his preface, Peri notes that all of the music was completed by the date of the first performance earning his efforts the designation Prima Euridice.
In creating the music for Euridice, Peri envisioned a vocal style that is half sung and half spoken. For less dramatic parts he created vocal lines close to the style of spoken language set over a sustained accompaniment. For impassioned scenes he explored stronger and more rapid melodies with steadily changing harmonies. Peri's critics have observed that within the score of Euridice, he created no musically remarkable examples of either. However, he did use ranges and widths of register, as well as frequency and power of cadences, to distinguish different characters and dramatic moods. The voice and accompaniment are carefully paced to emphasize the tension and release in the text. Rhythmic and melodic inflections in the vocal lines closely, almost scientifically, imitate dramatic speech. In addition, impassioned exclamations are set with unprepared dissonances and unexpected movements in the bass.
All qualitative judgments aside, even his greater detractors admit that with Euridice Peri managed to establish sound principals for operatic composition.
The work establishes in opera the dual resource of aria
Aria
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with orchestral accompaniment...
and recitative
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
, and it explores the use of solo, ensemble and choral singing.
Roles
| Role | Voice type | |
|---|---|---|
| La Tragedia | soprano Soprano A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody... |
|
| Euridice | soprano | |
| Orfeo | tenor Tenor The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2... |
|
| Aminta, a shepherd | tenor | |
| Arcetro, a shepherd | contralto Contralto Contralto is the deepest female classical singing voice, with the lowest tessitura, falling between tenor and mezzo-soprano. It typically ranges between the F below middle C to the second G above middle C , although at the extremes some voices can reach the E below middle C or the second B above... |
|
| Tirsi, a shepherd | tenor | |
| Caronte | bass | |
| Dafne | soprano | |
| Plutone | bass | |
| Proserpina | soprano | |
| Radamanto | tenor | |
| Venere | soprano | |
| Nymphs and shepherds, shades and deities of hell | ||
Synopsis
Peri's Euridice tells the story of the musician OrpheusOrpheus
Orpheus was a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on his ability to charm all living things and even stones with his music; his attempt to retrieve his wife from the underworld; and his death at the hands of those who...
and Euridice from Greek Mythology
Greek mythology
Greek mythology is the body of myths and legends belonging to the ancient Greeks, concerning their gods and heroes, the nature of the world, and the origins and significance of their own cult and ritual practices. They were a part of religion in ancient Greece...
. According to myth, Orpheus was a great musician who journeyed to the underworld
Greek underworld
The Greek underworld was made up of various realms believed to lie beneath the earth or at its farthest reaches.This includes:* The great pit of Tartarus, originally the exclusive prison of the old Titan gods, it later came to be the dungeon home of damned souls.* The land of the dead ruled by the...
to plead with the gods to revive his wife Euridice after she had been fatally injured.
Act 1:
Opens with a simple melody by a singer representing the Tragic Muse, La Tragedia, and a short ritornelloRitornello
A ritornello is a recurring passage in Baroque music for orchestra or chorus. The first or final movement of a solo concerto or aria may be in "ritornello form", in which the ritornello is the opening theme, always played by tutti, which returns in whole or in part and in different keys throughout...
. Shepherds nearby and the Tragic Muse sing a conversation in recitatives
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
and choruses
Choir
A choir, chorale or chorus is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform.A body of singers who perform together as a group is called a choir or chorus...
, Daphne
Daphne
Daphne was a female minor nature deity. Pursued by Apollo, she fled and was chased. Daphne begged the gods for help, who then transformed her into Laurel.-Overview:...
enters to notify everyone that Euridice has been fatally bitten by a serpent.
Scene 1
All of the nymphs and shepherds gather to celebrate the wedding of Orfeo and Euridice.Scene 2
Orfeo is content after his wedding but is soon interrupted by Dafne. She brings the terrible news that Euridice has been bitten by a venomous snake and has died. Orfeo then vows to join her in the underworld.Scene 3
Arcetro recounts that while Orfeo lay weeping, Venus, goddess of love, carries him off in her chariot.Act 2
Opens with Orpheus pleading with Venere, Plutone, Prosperina, Caronte, and Radamanto in the underworld for the return of his beloved wife Euridice. Nearly the entire scene is carried in recitative. When the act closes, Orpheus is back with Tirsi and the other shepherds.Scene 4
Venus and Orfeo arrive at the gates of the underworld. Venus suggests that through his legendary voice he might persuade Pluto to return Euridice to life. Orfeo succeeds and is allowed to leave with his bride.Scene 5
Orfeo and Euridice return from the underworld and rejoice.
| PartsSources for the libretto divide the work into a prologue (one scene) and one Act with six scenes. Modern recordings tend to divide the opera into a prologue, a first act, with scenes 1-3, and a second act, with scenes 4-5. It is unclear why these different descriptions have emerged, but the confusion is largely cosmetic: in the end, the score, libretto and recording cited here all contain the same individual musical numbers. | Scenes | Individual Works | Characters |
|---|---|---|---|
| Prologue | Scene I | Prologo - Lo, Che D' Alti Sospir Vaga E Di Pianti | La Tragedia |
| Act 1 | Scene I | ||
| Ninfe, Ch'I Bei Crin D' Oro | Pastore del coro, Ninfa del coro | ||
| Vaghe Ninfe Amorose | Arcetro, Pastore del coro, Ninfa del coro | ||
| Donne, Ch'A' Miei Diletti | Euridice, Ninfa del coro | ||
| Credi, Ninfa Gentlile | Aminta, Pastore del coro | ||
| In Mille Guise E Mille | Euridice, Coro | ||
| Al Canto, Al Ballo, All'Ombra, Al Prato Adorno | Coro, Pastore del coro, Ninfa del coro, Altre Ninfe del coro | ||
| Scene II | |||
| Antri, Ch'A' Miei Lamenti | Orfeo | ||
| Sia Pur Lodato II Ciel, Lodato Amore | Arcetro, Orfeo | ||
| Tirsi Viene In Scena Sonando La Presente Zinfonia | Orfeo, Tirsi | ||
| Deh Come Ogni Bifolco, Ogni Pastore | Arcetro, Orfeo | ||
| Lassa! Che Di Spavento E Di Pietate | Dafne, Arcetro, Orfeo | ||
| Per Quel Vago Boschetto | Dafne, Arcetro | ||
| Non Piango E Non Sospiro | Orfeo | ||
| Ahi! Mort'Inde'E Ria | Arcetro, Dafne, Ninfa del coro | ||
| Sconsolati Desir, Giole Fugaci | Aminta, Ninfa del coro | ||
| Cruda Morte, Hai! Pur Protesti | Coro, Ninfa del coro, Due Ninfa e un Pastore del coro | ||
| Scene III | |||
| Se Fato Invido E Rio | Arcetro, Coro | ||
| Con Frettoloso Passo | Arcetro, Dafne, Coro | ||
| Lo Che Pensato Havea Di Starmi Ascoso | Arcetro, Pastore del coro | ||
| Se De'Boschi I Verdi Onori | Coro | ||
| Poi Che Dal Bel Sereno | Pastore del coro, Coro | ||
| Act 2 | |||
| Scene IV | Scorto Da Immortal Guida | Venere, Orfeo | |
| L'Oscuro Varc'Onde Siam Giunti A Queste | Venere | ||
| Furneste Piagge, Ombrosi Orridi Campi | Orfeo | ||
| Ond'E Cotanto Ardire | Plutone | ||
| Deh, Se La Bella Diva | Orfeo | ||
| Dentro L'Infernal Porte | Plutone, Orfeo | ||
| O Re, Nei Cui Sembiante | Prosperpina | ||
| A Si Soavi Preghi | Orfeo, Plutone | ||
| Sovra L'Eccelse Stelle | Caronte, Plutone, Orfeo | ||
| Trionfi Oggi Pieta Ne' Campi Inferni | Plutone, Orfeo, | ||
| Poi Che Gl'Eterni Imperi | Deita D'Inferno primo coro, Secondo coro, Radamanto | ||
| Scene V | Gia Del Bel Carro Ardenteri | Arcetro, Coro | |
| Voi, Che Se Ratt'll Volo | Aminta, Coro, Arcetro | ||
| Quand'Al Tempio N'Andste, lo Mi Pensai | Aminta, Pastore del coro | ||
| Chi Puo Del Cielo Annoverar Le Stelle | Aminta, Arcetro | ||
| Gioite Al Canto Mio, Selve Frondose | Orfeo, Ninfa del coro | ||
| Quella, Quella Son'lo Per Cui Piangeste | Euridice, Ninfa del coro, Dafne, Arcetro, Orfeo, Aminta | ||
| Modi Or Soavi Or Mesti | Orfeo | ||
| Felice Semideo, Ben Degna Prole | Aminta | ||
| Ritornello Strumentale | Tutto il coro | ||
| Biod'Arcer, Che D'Alto Monte | (ritornello instrumentale) Ritornello A ritornello is a recurring passage in Baroque music for orchestra or chorus. The first or final movement of a solo concerto or aria may be in "ritornello form", in which the ritornello is the opening theme, always played by tutti, which returns in whole or in part and in different keys throughout... |
||
Note: Various chorus names are as they appear in the original Italian score. Pastore, Ninfa/Ninfe, and Deita D'Inferno refer to choruses of shepherds, nymphs and Deities of Hell respectively.
Other References
- Brown, Howard Mayer. "Euridice (i)", Grove Music OnlineGrove Dictionary of Music and MusiciansThe New Grove Dictionary of Music and Musicians is an encyclopedic dictionary of music and musicians. Along with the German-language Musik in Geschichte und Gegenwart, it is the largest single reference work on Western music. The dictionary has gone through several editions since the 19th century...
, ed. L. Macy (accessed February 7, 2006), grovemusic.com (subscription access). - Burkholder, Peter J., Donald Jay Grou, and Claud V. Palisca (1960/2010). A History of Western Music, 8th edition. New York: Norton. 986 pages
- Porter, William V.. "Jacopo Peri", Grove Music OnlineGrove Dictionary of Music and MusiciansThe New Grove Dictionary of Music and Musicians is an encyclopedic dictionary of music and musicians. Along with the German-language Musik in Geschichte und Gegenwart, it is the largest single reference work on Western music. The dictionary has gone through several editions since the 19th century...
, ed. L. Macy (accessed February 7, 2006), grovemusic.com (subscription access). - Weiss, Piero, and Richard Taruskin (1984). Music in the Western World: A History in Documents. Belmont: Scrimer. 556 pages.
External links
Score- Original Score and Modern Edition from the International Music Score Library ProjectInternational Music Score Library ProjectThe International Music Score Library Project , also known as the Petrucci Music Library after publisher Ottaviano Petrucci, is a project for the creation of a virtual library of public domain music scores, based on the wiki principle...
Libretto
Recording
- Peri, Jacopo (1995). Euridice / Jacapo Peri. Authentic CD .P441 A.1-5 Arts Music