Vietnam or Thailand ? Vote for the TOP Country of the Week !

Updated: June 8, 2025


The catastrophe is treated in much the same manner as it has been in subsequent versions of the story. Euridice disappears. Orpheus is about to turn back, but he is stopped by Tisiphone. He then breaks into virulent raillery, swears he'll never love woman more and advises all husbands to seek divorce. All this is in resounding octave rime. Then a Mænad calls upon her sisters to defend their sex.

The nymph who has bewitched Aristæus is Euridice and the second scene shows us the shepherd pursuing her. It appears that in trying to escape from the shepherd she was bitten by a deadly snake, for in the third scene a dryad tells the story of the tragedy to her sisters.

This story was utilized by Peri and Caccini in their "Euridice," which is accepted as the first opera written in the new representative style of the sixteenth century to receive a public performance.

This stage "business" in English reads: "Orpheus singing on the hill to his lyre the following Latin verses is interrupted by a shepherd announcing the death of Euridice." Thirteen verses of the song are given before the entrance of the shepherd, and immediately after the announcement Orpheus descends into Hades.

A composition of some importance, dating from a period about two years later than Tansillo's piece, is an 'ecloga pastorale' by the 'mestissimo giovane' Luca di Lorenzo of Siena. Two nymphs, by name Euridice and Diversa, respectively seek and shun the delights of love.

But, as he explained, his song had changed as his heart had changed, and since Euridice was no more, he wished now to lay his homage at the feet of the most amiable Princess in the world. Orpheus was interrupted by the entrance of Atalanta and Theseus and a party of hunters, who brought the first part to an end in an animated dance.

Peri evidently tried to give musical form to the ordinary inflections of the human voice, how successfully may be seen in the Lament of Orpheus which Mr. Morton Latham has reprinted in his 'Renaissance of Music, The original edition of 'Euridice' contains an interesting preface, in which the composer sets forth the theory upon which he worked, and the aims which he had in view.

He says: "To do the 'Orfeo' justice we ought to have heard it with its own accompaniment of music." He enlarges upon the failure of the author to seize the opportunity to make much of the really tragic moment in the play, namely that expressing the frenzied grief of Orfeo over the loss of Euridice.

In the midst of this ineffable concert of impossible voices and instruments, I tried to imagine the voice of Guadagni, the soprano for whom Gluck had written Che faru senza Euridice, and the fiddle of Tartini, that Tartini with whom the devil had once come and made music.

Accordingly, he too, like Shakespeare and Shelley, leaves versified airs, like Dalla sua pace, or Gluck's Che fare senza Euridice, or Weber's Leise, leise, which are as dramatic from the first note to the last as the untrammelled themes of The Ring. In consequence, it used to be professorially demanded that all dramatic music should present the same double aspect.

Word Of The Day

agrada

Others Looking