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Updated: May 20, 2025
The two meet, however, at the hut of a wise nymph Lucina, through whose intervention they are reconciled and their union effected. The piece, which attains to some proportions, is divided into five acts, and, while owing a certain debt to the Orfeo, is itself pastoral in character with occasional coarse touches borrowed from the rustic shows.
Sismondi's perception of the survival of the pastoral character in this new form of entertainment is something we can appreciate, for this character has survived all the experiments made on the "Orfeo" legend and it dominates even the epoch-making work of Gluck. Symonds, who had a broader view of art than Sismondi, had no difficulty in perceiving that the true genius of this new drama was lyric.
From M. d'Indy we have had scholarly editions of Rameau, Destouches, and Salomon de Rossi. Even in the middle of rehearsals of L'Étranger at Brussels he was working at a reconstruction of Monteverde's Orfeo. He has published selections of folk-songs with critical notes, essays on Beethoven's predecessors, a history of Musical Composition, and debates and lectures.
There are only 434 lines in the "Orfeo" and therefore the feat of writing it in two days was no great one for a man of Poliziano's ability. Sismondi regards this work as an eclogue rather than a drama. He says: "The universal homage paid to Virgil had a decided influence on the rising drama.
Perhaps both of these admirable Italian authors had their eyes too closely fixed on the spoken drama to perceive the immense significance of Poliziano's "Orfeo" in the field of opera.
Five years elapsed between the production of 'Orfeo' and of Gluck's next great opera, 'Alceste'; but that these years were not wasted is proved by the great advance which is perceptible in the score of the later work. The libretto of 'Alceste' is in many ways superior to that of 'Orfeo, and Gluck's share of the work shows an incontestable improvement upon anything he had yet done.
And they have even given the classic masterpieces of opera there: Fidelio, Orfeo, Alceste, the two Iphigénies; and taken more pains with them and mounted them with more pious zeal than they do at the Opera. The operas themselves are more at home there, too, for the size of the theatre is more like that of the eighteenth-century theatres.
Norma nowadays is not particularly attractive, and the house, when it is given, cannot be expected to be more than normal or ordinary. Thursday. Orféo. First appearance of Miles.
It was at Mantua that Angelo Poliziano's "Orfeo," the first lyric drama with a secular subject, was produced, and it must be our next business to examine this work and set forth the conditions under which it was made known. The Artistic Impulse The non-existence of the drama in the Middle Ages is one of the strikingly significant deficiencies of the period.
Such was the case of Orfeo Pelligrini, who came to this country and took a new wife when his children in Italy were nearly grown. His Italian family came to America through their own efforts a few years later, and Orfeo found that he had underestimated the character of his eldest son, who traced his father, had him arrested and taken to the city where his original family was living.
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