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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.
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.
Texas in the United States. The U.S. state of Texas has long been a center for musical innovation and is the birthplace of many notable musicians. Texans have pioneered developments in Tejano and Conjunto music, Rock 'n Roll, Western swing, jazz, Piano, punk rock, country, hip-hop, electronic music, gothic industrial music, religious music, mariachi, psychedelic rock, zydeco and the blues.
There is an important role for the harp in Orpheus. This has a long tradition in classical music, in which the character of Orpheus is associated with that instrument, by analogy with the Ancient Greek lyre. Two important examples of this may be mentioned: Gluck’s opera Orfeo ed Euridice and Liszt’s symphonic poem Orpheus.
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.
Orpheus Alive is a ballet composed in 2019 by Missy Mazzoli, choreographed by Robert Binet, and conceived by Binet in collaboration with the playwright Rosamund Small. It was commissioned by the National Ballet of Canada , which first performed it at the Four Seasons Centre in Toronto on November 15, 2019.
[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 ...
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!