"Che faro senza Euridice"

I just watched a wonderful production of Gluck's, 'Orfeo ed Euridice', broadcast a while ago from the Met, and was completely blown away by the heartbreaking music, stunning staging, contemporary dance and a magnetic performance from Stephanie Blythe. I feel blessed to have been able to see the result of a great performer singing a role that seems to have been written just for her. It was that perfect.

One of the moments that has stuck in my mind from seeing the recording only once, was the terribly sad (if not slightly frustrating) scene when Orfeo finally gives in, and looks at his beloved Euridice, only to see her carried back to the Underworld. The aria that follows is one of the most touching pieces of music I've ever heard. And despite the fact that it's very popular, I'd never heard of it until now...shows how much I know! I've really been missing out...

"Che faro senza Euridice" is gorgeous. The strings introduce us to the melody, which is set underneath a pulsing accompaniment, which I imagine to be poor Orfeo's heart, as he contemplates the rest of his life without Euridice. The octave strings follow the voice throughout the melody, which somehow just makes it all the more melancholy. I'm not sure why, but I like to think that this string accompaniment somehow symbolises Euridice; perhaps it's the sound of her voice in Orfeo's imagination...I don't quite know. The text of this piece breaks my heart too- as Orfeo constantly repeats 'what do I do', 'where do I go'. He calls out Euridice's name and begs her to respond, with a beautiful high note, that just falls the octave when he realises it's all in vain.

Stephanie Blythe's voice facinates me. There's something about it that is so obviously rich, and majestically feminine - but it has an edge. In the lower register she achieves an almost tenor like colour, which kicks in just where the passagio sounds like it should be - but of course, she's so awesome you'd never be 100% sure she had any kind of passagio whatsoever. To me, her voice is like a skort. You know, those things that look like skirts, but then are actually shorts underneath? No, really, hear me out here. Essentially her voice is a skirt - feminine, rich, what you'd expect. But then there's a little hidden shock - shorts; a bit of a masculine edge. That was the worst metaphor of my life. But at least it got across my point...I hope.

So overall, Orfeo ed Euridice = amazing! I'm glad I tackled my slight phobia of opera based on greek myths, and even discovered lots of lovely music and a great singer along the way.

Right, now it's time for the final act of the Der Rosenkavalier DVD - the kleenex are ready and waiting.