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The overture to the 1874 revision is a 393-bar piece, in which Jupiter's minuet and John Styx's song recur, interspersed with many themes from the score including "J'ai vu le Dieu Bacchus", the couplets "Je suis Vénus", the Rondeau des métamorphoses, the "Partons, partons" section of the Act 2 finale, and the Act 4 galop.
Orpheus Playing the Violin, 17th-century painting by Cesare Gennari. Operas based on the Orphean myths, and especially the story of Orpheus' journey to the underworld to rescue his wife, Eurydice, were amongst the earliest examples of the art form and continue to be written into the 21st century.
[2] The story of the opera follows the Greek legend of Orpheus, who descends to Hades to persuade the gods of the Underworld to allow him to bring his dead bride, Eurydice, back to the living world. His plea is granted, on the condition that he does not look back while leading Eurydice out of Hades.
L'Orfeo (SV 318) (Italian pronunciation: [lorˈfɛːo]), or La favola d'Orfeo [la ˈfaːvola dorˈfɛːo], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio.
Orpheus In Hades, Galop Jacques Offenbach. 11. Trisch-Trasch Polka ... "Overture" to Suite No. 2 from Daphnis et Chloé Ballet [1912] Composer: Maurice Ravel ...
Orpheus (tenor) sings that he is no longer living, for, with his wife dead, he himself no longer has a heart (senza cor). Charon (bass-baritone) is initially unmoved, but when Orpheus continues singing, and then plays his lyre, Charon is lulled to sleep. Orpheus crosses over the Styx in Charon's boat, singing Rendetemi il mio ben, tartarei Numi!
The second movement, known for its prominent and frequent use of a motif from the Dies Irae chant, has been associated with the imagery of Orpheus taming the Furies (represented, respectively, by the piano and unison strings) at the gates to Hades, a suggestion of Beethoven's 1859 biographer Adolf Bernhard Marx. [10]
During the early 19th century, Adolphe Nourrit became particularly well known for his performances of Orpheus at the Paris Opera. In 1854 Franz Liszt conducted the work at Weimar, composing a symphonic poem of his own to replace Gluck's original overture. [2]