L'Orfeo, Favola in musica

L'Orfeo is my personal favourite of Monteverdi's operas, a very beautiful and moving work indeed. Let me start by saying that anybody who prefers a more traditional and more Renaissance approach would probably want to look elsewhere like the Ponnelle-directed production. Anyone who does like great choreography and singing and a unique approach to the staging will love it. I admit that I am more a traditionalist myself, but I highly enjoyed this production. The costumes and sets are very imaginative visually and utilised likewise, the idea of Apollo being strapped to a vertically revolving sun was a touch that I've not seen much before if ever and one I did enjoy seeing. The choreography and movements was mostly very beautiful, there are a few occasions where it does come across as rather mannered but mostly it was fine. The orchestral playing gives the music its poignancy and intimacy and the conducting from Rene Jacobs is likewise musical and authoritative. Simon Keenlyside is outstanding in the title role, graceful and athletic in dancing, commanding and moving in acting and flexible and sonorous in singing. The rest of the singing are equally impressive, with Euridice and Charron standing out. All in all, a great, unique production though may be an acquired taste depending on whether you are a traditionalist or not. 9/10 Bethany Cox

This version of Orfeo is an excellent synthesis of music and dance. The costumes and scenery are rather post-modern, but the singing and playing are some of the very best of the lot. Defying convention, La Musica sings from the orchestra while a dancer is suspended in the set, apparently weightless. Speranza is sung by a male soprano. There are plenty of other surprises in this version. Trisha Brown's choreography sometimes appears "affected" and unnatural; but at other times is strikingly beautiful. The conducting (busy but effective) and the original instrument performances are absolutely first rate, at least the equal to any other performances out there, early brass playing especially. The fact that this opera can still work, and beautifully in this rendition is a testament to the timelessness of the work.