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Orpheus was one of the handful of Greek heroes [25] to visit the underworld and return; his music and song had power even over Hades. The earliest known reference to this descent to the underworld is the painting by Polygnotus (5th century BC) described by Pausanias (2nd century AD), where no mention is made of Eurydice.
[35] [72] The music remains in this vein until the act ends with La musica's ritornello, a hint that the "power of music" may yet bring about a triumph over death. [73] Monteverdi's instructions as the act concludes are that the violins, the organ and harpsichord become silent and that the music is taken up by the trombones, the cornetts and ...
It is Monteverdi's first opera, and one of the earliest in the new genre. In Monteverdi's hands, according to music historian Donald Jay Grout , "the new form [of opera] passed out of the experimental stage, acquiring ... a power and depth of expression that makes his music dramas still living works after more than three hundred years". [ 1 ]
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!
Orpheus then introduces seven new characters who will be better representatives of the human condition (and who will become the main characters of Part II, Sette canzoni). They file silently onto and off the stage as the commedia dell'arte players protest from the cupboard that they will starve to death.
Roman mosaic of Orpheus, the mythical poet to whom the Orphic Hymns were attributed, from Palermo, 2nd century AD [32]. The collection's attribution to the mythical poet Orpheus is found in its title, "Orpheus to Musaeus", [33] which is the heading of the proem (an address from the poet to the legendary author Musaeus of Athens, which precedes the rest of the collection); [34] this address to ...
In Netflix’s new mythological dramedy KAOS, a war between humanity and the gods is brewing. For the uninitiated, Charlie Covell’s (The End of the F–king World) latest series follows a cruel ...
Orpheus, the Greek hero whose songs could charm both gods and wild beasts and coax the trees and rocks into dance, has achieved an emblematic status as a metaphor for the power of music. [1] The following is an annotated list of operas (and works in related genres) based on his myth.