Review: Orfeo and Eurydice

You know how it is. You wait ages for a production of Orfeo and Eurydice and then two come along together. Following fast on the heels of Cork Operatic Society’s production, Gluck’s pivotal early classical opera charting the emotional turbulence of mythical bereavement got another outing when the work was performed on the opening evening of the Clonmel Junction Festival.

Theresia Guschibauer’s pro am production combining a local chorus with two big expressive solo voices and a chamber orchestra in the antique setting of Old St Mary’s Church made for an unusual and highly charged musical evening. The original 1762 score was pared of instrumental and dance numbers making for a tidy running time. There was an almost devotional mood with the full house hushed and refraining from applause until the very last gasp.

The semi-staged production added a role of narrator (Liz Nolan) who set the scene with an introduction and plot synopsis in a style familiar from her Tales from the Opera broadcasts on Lyric FM. Then it was straight into the drama as a distraught Orfeo ranged around the aisles seeking his beloved nymph. While the role is most famously associated with the late Kathleen Ferrier, the role here was played by a German countertenor Roland Schneider. From his first chilling cry of ‘Eurydice’, it was apparent that this was a rare and exciting voice, rich in a range of dramatic expression. It was good to see the skills of local singers showcased. Jennifer Davis as Eurydice was impressive as much for her acting ability as her vocal prowess. Teenager Mimi Lane as Amor made the transition from musical theatre in her first opera role with aplomb.

The stained glass and gilt painted organ pipes of St Mary’s made a gorgeous, theatrical backdrop. The Junction Festival Choir dressed in neutral tones blended effectively into the light stone background While the vocal balance wasn’t perfect they sang in tune and with pleasing ease accompanied by the Carolan Ensemble under Austrian conductor Elizabeth Attl.

The contrived happy ending of was foregone in favour of the original conceit of tragic bereavement. As the narrator concluded, clearly the art of antiquity has much to tell a contemporary audience about love and loss. This was a thrilling and memorable ‘one night only’ rendition of Gluck’s beautiful musical telling of the myth of Orfeo.