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67

Christoph Willibald Gluck

Damiano Michieletto

Orfeo ed Euridice

Tickets: from 25 € to 100 €
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2024
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2024
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6
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90 minutes
Opera

Synopsis

Orpheus and Eurydice have become two strangers to each other. Love has disappeared. A misfortune strikes Eurydice and snatches Orpheus from his daily life. He weeps and wanders the world. What has he lost? Love appears to him and offers him a solution: he can bring Eurydice back to life, to condition of not looking at her all the way back.

In Damiano Michieletto 's original reinterpretation, the myth of Orpheus and Eurydice is made of the reality of men. The two protagonists are first and foremost a couple in crisis to whom a way out is offered. For the director, "the triumph of love in the end comes from the experience of the finiteness of life. This thought is difficult from to bear. The mythological story of Orpheus rescuing Eurydice is not about the reality of a man rescuing a woman from the Underworld. [...] The meaning of the journey that numerous myths speak of is, to in my opinion, an attempt to show, through artistic means, a truly meaningful life experience. It is about the possibility of change, of meeting again, of loving again and perhaps even differently."

to unlike the myth, Michieletto chooses to show the couple on stage from the very beginning. Orpheus' journey to the Underworld is metaphorical, it is a path along which he finds himself.

That of Orpheus and Eurydice is among the stories that most intensely evoke the link between the world of the living and the world of the dead, and it has its roots in very ancient, preclassical myths. It is no to coincidence that it was among the subjects chosen for 'opera opera at its very beginnings, with versions by Jacopo Peri, Giulio Caccini and in 1607 with Claudio Monteverdi's masterpiece. Until the 20th century, the figure of the cantor Orpheus appeared on the stage in nearly a hundred settings, operettas, ballets, cantatas, symphonic poems and soundtracks.

Perhaps the enchantment of this myth lies in the tension of the lovers, in the choice between looking at each other one last time and saving themselves.

Credits

Program

Orpheus and Eurydice

Theatrical action for music in three acts (1762)

by Christoph Willibald Gluck

libretto Ranieri de' Calzabigi

Orchestra of theAccademia Nazionale di Santa Cecilia

Vocalconsort Berlin

director Antonello Manacorda

directed by Damiano Michieletto

choreography Thomas Wilhelm

scenography Paolo Fantin

costumes Klaus Bruns

dramaturgy Simon Berger

choir director David Cavelius

lights Alessandro Carletti

Characters and performers

Orpheus Raphael Pe

Eurydice Nadja Mchantaf

Love Susan Zarrabi / Josefine Mindus

Dancers Alessandra Bizzarri, Ana Dordevic, Claudia Greco, Martina Borroni

staging Komische Oper Berlin‍

Italian production Spoleto Festival dei Due Mondi

TICKET OFFICE

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Please be advised that dates and times may be subject to change. See www.festivaldispoleto.com for updates.

Dates & Tickets

Tickets: from 25 € to 100 €
TICKETING INFO
Fri
05
Jul
2024
at
20:30
Teatro Nuovo Gian Carlo Menotti
Sat
06
Jul
2024
at
18:00
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
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Teatro Nuovo Gian Carlo Menotti
at
Teatro Nuovo Gian Carlo Menotti
Event Times
June 28
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
June 29
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
June 30
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
01 July
10:00
11:00
12:00
13:15
14:15
15:30
16:30
17:45
20:30
21:30
02 July
10:00
11:00
12:00
13:15
14:15
17:30
18:30
19:45
20:45
21:45
04 July
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
05 July
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
06 July
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
07 July
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
08 July
10:00
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
20:45
21:45
09 July
10:00
11:00
12:00
13:00
14:15
17:30
18:30
19:45
20:45
21:45

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Biographies

Damiano Michieletto
Damiano Michieletto © Stefano Guindani

Within a short time, Damiano Michieletto has emerged on the international scene as one of the most interesting representatives of the young generation of Italian directors. He studied opera and theater production at Milan's Paolo Grassi School of Dramatic Art and graduated in modern literature from the University of Venice, his hometown.

His critically acclaimed production of Švanda the Piper by Jaromír Weinberger at the 2003 Wexford Festival won the Irish Times ESB Theatre Award. His other opera productions include L' Italiana in Algeri at Teatro Olimpico in Vicenza, La gazza ladra in a co-production of the Rossini Opera Festival in Pesaro with the theaters of Bologna and Verona (the production won the Franco Abbiati Prize in 2008), Lucia di Lammermoor, Il Corsaro, Luisa Miller and Poliuto to Zurich, Roméo et Juliette and a Mozart/from Ponte cycle at Teatro La Fenice in Venice, Die Entführung aus dem Serail at San Carlo in Naples, La scala di seta at Rossini Opera Festival and Teatro alla Scala in Milan, Il Barbiere di Siviglia at Grand Théâtre de Genève, Madama Butterfly to Turin, L'elisir d'amore to Valencia, Graz and Madrid, Martinů's The Greek Passion to Palermo, Così fan tutte at New National Theatre in Tokyo, Trittico at Theater an der Wien and Royal Opera Copenhagen, Un ballo in maschera at Teatro alla Scala, Idomeneo at Theater an der Wien and The Rake's Progress at Opernhaus Leipzig and La Fenice in Venice.

He made his Salzburg Festival debut with La Bohème in 2012 and returned there for Falstaff in 2013 and La cenerentola in 2014. The 2014/15 season includes Il viaggio to Reims at the Nederlandse Opera in Amsterdam and Guillaume Tell at the Royal Opera House in London.

Engagements for the 2015/2016 season include new productions of Mozart's The Magic Flute at La Fenice in Venice, Cavalleria Rusticana and Pagliacci at London's Covent Garden (Olivier Award 2016), and Rossini's Otello to Vienna; a debut at the Komische Oper in Berlin with Massenet's Cendrillon; and a return to the Rossini Opera Festival in Pesaro with a new production of La donna del lago.

In 2016 and 2017 he was busy with new productions of Saint-Saëns' Samson et Dalila at the Paris Opéra, Perocco's Aquagranda at La Fenice in Venice (2017 Abbiati Prize), Falstaff at La Scala in Milan, Die Zauberflöte atOpera in Florence, Idomeneo for the Maggio Musicale Fiorentino to Pistoia, Rigoletto atOpera in Amsterdam, and La damnation de Faust for the opening ofOpera in Rome (Abbiati Prize 2018).

During the course of 2018, the director is busy making his debut at the Bol'šoj Theater in Moscow with Il viaggio to Reims and with four new productions: Lehár's Die Lustige Witwe at Fenice in Venice, to Britten's Midsummer night's dream at Theater an der Wien in Vienna, Donizetti's Don Pasquale at Palais Garnier - Opéra de Paris, and Verdi's Macbeth to Venice (season opener).

Recent appointments include: new productions of Schreker's Der Ferne Klang to Frankfurt and Händel's Alcina at the Salzburg Festival (Pentecost and summer festival), filming of La Scala di seta at the Royal Opera House in Muscat, Don Pasquale to Paris and to London, Die Lustige Witwe to Rome, Il viaggio to Reims to Melbourne and Sydney, Luisa Miller and Cavalleria rusticana/Pagliacci to Barcelona; as well as new productions of Rigoletto staged at the Circus Maximus - from which spawned a project for the big screen produced from Indigo Film with the Teatro dell'Opera in Rome - and Berlioz' Béatrice et Bénédict atOpera in Lyon. Among his 2021 engagements: New stagings of two Janáček operas, namely Jenůfa to debut at the Berlin Staatsoper and Kát'to Kabanová at the Glyndebourne Festival, and of Strauss, Salome at Teatro alla Scala in Milan (broadcast on Rai5) and Der Rosenkavalier to Vilnius, joined by a film on Puccini's Gianni Schicchi for Genoma Films, Rigoletto at La Fenice in Venice (the production won the Franco Abbiati Prize in 2022) and La cenerentola at the Semperoper in Dresden. In 2022, he staged the Italian premiere of Béatrice et Bénédict for the season opening of the Teatro Carlo Felice in Genoa and several new productions: Gluck's Orfeo ed Euridice at the Komische Oper in Berlin, Battistelli's Le baruffe at Teatro La Fenice (with libretto by Michieletto), Handel's Giulio Cesare in Egitto at the Théâtre des Champs-Elysées, and the Italian premiere of Mass, a Bernstein theater piece, at the Terme di Caracalla to Rome. In addition, he presented "Archèus. Labyrinth Mozart," a multidisciplinary immersive installation created for the Venice Biennale, celebrating the 1600th anniversary of the lagoon city.

In 2023 he stages at De Nationale Opera in Amsterdam the world premiere of Animal Farm based on George Orwell's famous novel of the same name and composed from Alexander Raskatov and two new productions: Les Contes d'Hoffmann at the Sydney Opera House and Aida marking his debut at the Bayerische Staatsoper. In 2024 he will be engaged in new productions at La Scala Cherubini's Médée, at the Royal Opera House Carmen and atOpera Paris Massenet's Don Quichotte.

In addition to his intense activity in opera theater, Damiano Michieletto is also very active in prose theater, equally important in his artistic career. He staged a highly original and much-appreciated edition of Goldoni's Il Ventaglio to which was followed by Gogol's L'Ispettore generale with the Teatro Stabile del Veneto, in a corrosive and engaging vision, Ramón María del Valle-Inclán's Divinas palabras for the Piccolo Teatro in Milan, a fundamental and visionary text of 20th-century Spanish theater, the new production of L'Opera from three soldi by Bertold Brecht and Kurt Weill at the Piccolo Teatro in Milan, and Čechov's one-acts The Marriage Question/The Bear with Teatro Stabile del Veneto at Teatro Goldoni in Venice (broadcast on Rai5).

Raffaele Pe
Raphael Pe © Nicola Allegri

Described by the "Times" as a "baroque star," a leading artist and tireless promoter of Baroque culture, countertenor Raffaele Pe embraces a vast musical repertoire ranging from Recitar cantando toopera contemporary.

In 2019 he was awarded the Abbiati Prize of the Italian Music Critics for Best Record with Giulio Cesare. to Baroque Hero. The CD, which was voted by "The Times" and from "Die Welt" one of the best recording projects of 2018, features arias dedicated to Julius Caesar in premiere or first performance in modern times.

Raffaele Pe collaborates with leading conductors and directors such as Jordi Savall, John Eliot Gardiner, William Christie, René Jacobs, Giovanni Antonini, Graham Vick, Claus Guth, Pierluigi Pizzi, and Damiano Michieletto.

In 2015 he founded La Lira di Orfeo, a collective of musicians, artists and researchers with whom he has made five recordings and often directs.

Regarded today as one of Händel's finest interpreters, he has performed iconic roles from most of his operas such as Julius Caesar, Rinaldo, Orlando, Xerxes, Nero, Arbace, Aci, Disinganno, and is hosted from major institutions such as the Teatro alla Scala the Teatro dell'Opera in Rome, the Staatsoper in Berlin, the Teatro del Maggio Musicale Fiorentino, the Teatro La Fenice in Venice, the Theater an der Wien, the Teatro Real in Madrid, the Opéra National du Rhin, The Grange Festival, and the Teatro Colón in Buenos Aires.

He has also devoted himself to the music of Monteverdi, Cavalli and lesser-known composers of the late seventeenth century, whose works he has often premiered in modern times. These include Cavalli's Hipermestra at the Glyndebourne Opera Festival, Melani's Empio Punito and Marazzoli's Amore Malato at the Teatro Verdi in Pisa, as well as Cavalli's Veremonda at the Spoleto Festival US.  

from always combines intense theatrical activity with concert appearances in some of the most important international halls and symphonic institutions such as the Philharmonie in Berlin, the Musikverein in Vienna, the Philharmonie in Paris, the Palau de la Musica in Barcelona, theAccademia Nazionale di Santa Cecilia to Rome and the Wigmore Hall in London.

Lebanese pianist, composer and figurative artist Zad Moultaka composedopera Hémon specifically for its vocal characteristics. The new creation - based on Sophocles' Antigone - debuted at the Opéra du Rhin in Strasbourg to March 2021 with Raffaele Pe engaged first in the baritone register and then in the sopranile register.

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