Premiered at the Burgtheater in Vienna on 5 October 1762 in the presence of Empress Maria Theresa (who was Holy Roman Empress, Grand Duchess consort of Tuscany, Queen of Bohemia, Archduchess of Austria, and Queen of Hungary and Croatia).
The Burgtheater had been opened by Empress Maria Theresa in 1741, and would later be the venue for the premieres of Mozart’s Die Entführung aus dem Serail (1782), Le nozze di Figaro (1786), Così fan tutte (1790) and Piano Concerto No. 24 in C Minor (1786), as well Beethoven’s Symphony 1 in C major.
It is said to be the first of the operas through which Cluck tried to replace overly complex plots and music with a simpler form in music and drama, called ‘reform’ operas
The plot is well known – Orfeo’s wife Euridice has died and during his mourning Cupid appears saying that he has been granted permission to go to the Underworld and bring his wife back. However there is one condition – on the way back he must not look at her until they have finished their journey (guess what happens).
Off he goes, singing both the Furies and Cerberus to sleep. He arrives in Elysium, one of the realms of the Underworld and the spirits bring him Euridice (this is where the piece ‘Dance of the Blessed Spirits) comes from.
On their way out, Orfeo looks ahead, having not explained to Euridice that he cannot look at her. She takes this as a sign he does not love her (although he literally just went to the Underworld to get her) and starts singing of her grief. Orfeo turns around, and she is dies again.
He sings today’s choice – the aria ‘Che farò senza Euridice?’ – what will I do without Euridice. You’ll notice its sung in a high voice – the role was originally for an alto or soprano castrato, and then in the French version changed to a high-tenor.
Che farò senza Euridice? Dove andrò senza il mio ben?
What will I do without Euridice? Where will I go without my beloved?
Euridice, o Dio, rispondi! Io son pure il tuo fedele. Euridice!
Euridice, O God, answer me! Yet I still belong to you faithfully. Euridice!
Ah, non m´avanza più soccorso, più speranza ne dal mondo, ne dal ciel.
Ah, no help comes to me anymore, No hope anymore, Neither from this world, nor from heaven.
Consider how Gluck portrays Orfeo’s grief:
The Listening Project Blog 