Orfeo Ed Euridice - Orfeo and The Reform

Orfeo and The Reform

The opera was the first by Gluck showing signs of his ambition to reform opera seria. Self-contained arias and choruses make way for shorter pieces strung together to make larger structural units. Da capo arias are notable by their absence; Gluck instead uses strophic form, notably in Act One's "Chiamo il mio ben così", where each verse is interposed with dramatic recitative, – that is, stromentato, where the voice is accompanied by part or all of the orchestra – and rondo form, such as in Act Three's famous "Che farò senza Euridice?". Also absent is traditional secco recitative, where the voice is accompanied only by the basso continuo. On the whole, old Italian operatic conventions are disregarded in favour of giving the action dramatic impetus. The complexity of the storyline is greatly reduced by eliminating subplots. Gluck was influenced by the example of French tragédies en musique, particularly those of Rameau. Like them, the opera contains a large number of expressive dances, extensive use of the chorus and accompanied recitative. The coup de théâtre of opening the drama with a chorus mourning one of the main characters is very similar to that used in Rameau's Castor et Pollux (1737). Other elements do not follow Gluck's subsequent reforms; for instance, the brisk, cheerful overture does not reflect the action to come. The role of Orfeo calls for an especially gifted actor, so that the strophic "Chiamo il mio ben così" does not become dull, and so that tragic import can be given both to this aria and to "Che farò senza Euridice?", both of which are based on harmonies that are not obviously mournful in nature. The first Orfeo, Gaetano Guadagni, was reputedly a fine actor who had certainly taken lessons while in London from the renowned Shakespearian actor David Garrick. Guadagni was apparently also able to project a moving and emotive tone without raising his voice. Indeed, Gluck faced criticism of "Che farò senza Euridice?" on the grounds that it was emotionally uninvolved; he responded by pointing out the absolute necessity of fine execution of the aria: "make the slightest change, either in the movement or in the turn of expression, and it will become a saltarello for marionettes".

Gluck's reforms, which began with Orfeo ed Euridice, have had significant influence throughout operatic history. Gluck's ideals heavily influenced the popular works of Mozart, Wagner, and Weber, with Wagner's Gesamtkunstwerk vision especially influenced by that of Gluck. Old-style opera seria and the domination of embellishment-orientated singers came to be increasingly unpopular after the success of Gluck's operas as a whole and Orfeo in particular. In Orfeo ed Euridice the orchestra is far more predominant than in earlier opera, most notably in Orfeo's arioso "Che puro ciel". Here the voice is reduced to the comparatively minor role of recitative-style declamation, while the oboe carries the main melody, supported by solos from the flute, cello, bassoon, and horn. There is also accompaniment from the strings (playing in triplets) and the continuo in the most complex orchestration that Gluck ever wrote.