One response to “Review: Orfeo ed Euridice, Scottish Opera”
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I agree about the orchestra – competent enough but too large I thought. But I loved Caitlin Hulcup’s Orfeo. I saw the production at the Sunday matinee and passion there was a-plenty. ‘Che faro’ delivered from lying to kneeling to standing was just wonderful. So much so that I struggled with the swift transition from tragedy to happy ending, made more acute by Amor – if Grace Kelly, then a rather louche version!
I did enjoy it but your review made me realise what was unsatisfying for me. The ‘Mad Men’ 50s theme (seems to be a current choice for designers) was at odds with what is quite a profound myth. It was fun but that’s not what I go to Orfeo for. Maybe i need to lighten up!
As to the ‘steampunk party’, it was the underworld surely – but if Hades is that camp, then it might be quite fun. Loved your description of the lime green nuns!
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Review: Orfeo ed Euridice, Scottish Opera
This review originally appeared for Opera Britannia. Scottish Opera have managed to produce another underwhelming show that, though visually arresting, leaves one with more questions than answers. There are things to praise about Ashley Page’s directorial debut for Scottish Opera: his ballet background clearly has given him an intense sense of theatrical spectacle that was…
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