When Monteverdi’s “L’Orfeo” debuts at the Santa Fe Opera on July 29th, there will be something unique about it. The production will include renowned tenor Rolando Villazón as Orfeo and conductor Harry Bicket, but what will surprise people the most is the contemporary sound that will emerge from the orchestra pit. Unlike traditional performances of Monteverdi, this production will feature a newly orchestrated version by composer Nico Muhly.
Muhly, whose opera credits include “Marnie” and “Two Boys,” has always had a love for Monteverdi’s music. Accepting the Santa Fe commission was an easy decision for him. However, this production titled “Orfeo” is not intended to be a blow against the period-instrument movement. Bicket, the music director of the English Concert, and Muhly, who appreciates composers like Byrd and Tallis, both have a deep appreciation for early music.
Instead, Santa Fe’s production speaks to the artistic opportunities that arise as the first generation of period-instrument pioneers fade away, and the early-music movement faces an uncertain future. This production challenges the old debates about how works should be performed and opens up new possibilities.
The decision to orchestrate “Orfeo” in this way is practical. Santa Fe has a resident orchestra that uses modern instruments, and it wouldn’t be feasible to bring period instruments to the theater. Typical repertory companies also struggle to present the work as it is traditionally performed. This new orchestrational approach not only makes the work more practical to perform in standard theaters but also contributes to our collective understanding of opera.
Composers have long been interested in reorchestrating “Orfeo” for contemporary ears. The opera, with a libretto by Alessandro Striggio, premiered in 1607 but was largely forgotten until the late 19th century. Various composers, including Vincent d’Indy and Carl Orff, attempted reorchestrations. However, Monteverdi’s openness to interpretation and the incomplete nature of the original scores have allowed for creative reinterpretations.
Muhly is particularly fond of “Orfeo” and appreciates its cleverness in plot and emotional content. He was given freedom in translating the material into his own compositional language, while Bicket provided guidelines to remain faithful to Monteverdi’s original work. The vocal and bass lines remain unchanged, but Muhly was able to fill in harmonies and make other compositional decisions.
Overall, this new production of “Orfeo” represents a constant need for reimagination in the world of opera. Interpretation of works from the past allows for creativity and a unique experience for modern audiences. Muhly approached the project with a combination of irreverence and veneration for the music of the past. It was a challenging process, but one that he embraced wholeheartedly.
Denial of responsibility! VigourTimes is an automatic aggregator of Global media. In each content, the hyperlink to the primary source is specified. All trademarks belong to their rightful owners, and all materials to their authors. For any complaint, please reach us at – [email protected]. We will take necessary action within 24 hours.
