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==Synopsis== |
==Synopsis== |
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The opera follows the myth of [[Orpheus and Eurydice]] quite closely, except that it has a happy ending since Orpheus succeeds in rescuing Eurydice from the underworld through the power of his music. Caccini’s version of Euridice is often described not as an Opera in 3 acts, but as one act with a prologue and six scenes. The opera opens in Arcadia, where nymphs and shepherds gather to celebrate the wedding of Orfeo and Euridice. Their festivities are interrupted when Daphne arrives with news that Euridice has been fatally bitten by a serpent while walking in a meadow. Orfeo, overwhelmed by grief, resolves to recover her from the underworld. With the assistance of Venus, Orfeo descends to the realm of the dead and petitions Pluto and Proserpina to restore Euridice’s life. Moved by his plea and by the power of his music, the rulers of the underworld agree to release her. In Arcadia, the shepherds mourn Euridice and fear Orfeo may not return. Arcetro eventually announces that Orfeo is approaching with Euridice restored to life. The community receives the couple and resumes the celebration of their marriage. |
The opera follows the myth of [[Orpheus and Eurydice]] quite closely, except that it has a happy ending since Orpheus succeeds in rescuing Eurydice from the underworld through the power of his music. Caccini’s version of Euridice is often described not as an Opera in 3 acts, but as one act with a prologue and six scenes. The opera opens in Arcadia, where nymphs and shepherds gather to celebrate the wedding of Orfeo and Euridice. Their festivities are interrupted when Daphne arrives with news that Euridice has been fatally bitten by a serpent while walking in a meadow. Orfeo, overwhelmed by grief, resolves to recover her from the underworld. With the assistance of Venus, Orfeo descends to the realm of the dead and petitions Pluto and Proserpina to restore Euridice’s life. Moved by his plea and by the power of his music, the rulers of the underworld agree to release her. In Arcadia, the shepherds mourn Euridice and fear Orfeo may not return. Arcetro eventually announces that Orfeo is approaching with Euridice restored to life. The community receives the couple and resumes the celebration of their marriage. |
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==Composition== |
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The texts from both operas are exactly the same, they just follow different rhythms and different melody lines. Both composers use dotted sixteenth notes in melismatic sections, eighth notes for momentum, and in cadences, a lot of the time, the intentions are the same i.e., stressing “…manti” (2, Caccini) and (3, Peri). Caccini really drags out the sections. While the opera is named after the character Euridice, the character of Orfeo holds a lot of importance as his recitative “Antri ch’a miei lamenti” is 22 lines, almost as long as Euridice’s entire role. In both versions of Euridice, both composers use G as the final tonal center as well as using G to connect each scene. Caccini begins each new recitative by using the harmony from the previous speech giving Caccini’s interpretation of the character of Orfeo a more reactive characterization. |
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==Recordings== |
==Recordings== |
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Revision as of 02:08, 18 November 2025
Opera by Giulio Caccini
Euridice is an opera in a prologue and one act by the Italian composer Giulio Caccini. The libretto, by Ottavio Rinuccini, had already been set by Caccini’s rival Jacopo Peri in 1600. Caccini’s version of Euridice was first performed at the Pitti Palace, Florence, on 5 December 1602.[1] Caccini hurriedly prepared the score for the press and published it six weeks before Peri’s version appeared.
Roles
Synopsis
The opera follows the myth of Orpheus and Eurydice quite closely, except that it has a happy ending since Orpheus succeeds in rescuing Eurydice from the underworld through the power of his music. Caccini’s version of Euridice is often described not as an Opera in 3 acts, but as one act with a prologue and six scenes. The opera opens in Arcadia, where nymphs and shepherds gather to celebrate the wedding of Orfeo and Euridice. Their festivities are interrupted when Daphne arrives with news that Euridice has been fatally bitten by a serpent while walking in a meadow. Orfeo, overwhelmed by grief, resolves to recover her from the underworld. With the assistance of Venus, Orfeo descends to the realm of the dead and petitions Pluto and Proserpina to restore Euridice’s life. Moved by his plea and by the power of his music, the rulers of the underworld agree to release her. In Arcadia, the shepherds mourn Euridice and fear Orfeo may not return. Arcetro eventually announces that Orfeo is approaching with Euridice restored to life. The community receives the couple and resumes the celebration of their marriage.
Composition
The texts from both operas are exactly the same, they just follow different rhythms and different melody lines. Both composers use dotted sixteenth notes in melismatic sections, eighth notes for momentum, and in cadences, a lot of the time, the intentions are the same i.e., stressing “…manti” (2, Caccini) and (3, Peri). Caccini really drags out the sections. While the opera is named after the character Euridice, the character of Orfeo holds a lot of importance as his recitative “Antri ch’a miei lamenti” is 22 lines, almost as long as Euridice’s entire role. In both versions of Euridice, both composers use G as the final tonal center as well as using G to connect each scene. Caccini begins each new recitative by using the harmony from the previous speech giving Caccini’s interpretation of the character of Orfeo a more reactive characterization.
Recordings
- Euridice Soloists, Rennes Chorus and Orchestra, conducted by Rodrigo de Zayas (Arion, 1980)
- L’Euridice Scherzi Musicali, Nicolas Achten (Ricercar, 2008)[2]
