Imagine losing the love of your life on your wedding night, only to have the chance to win her back from the underworld, subject to strict conditions. Surely, you’d back yourself. But wait, the story gets much darker because although you and your wife are reunited, the conditions are too much to bear. In short, you are severely limited in how you can engage with her and you are not allowed to tell her that that is the case. But, after hearing her desperate pleas, you relent, only to see her slip away again, after which your own death is your only respite.
That, in a nutshell, is the story behind Christoph Willibald Gluck’s impassioned opera Orpheus & Eurydice, which premiered in Vienna in 1762. You may recall a contemporary Tony Award-winning musical named Hadestown that captured its essence. Now Opera Australia has taken it to a whole new level, with a breathtaking operatic production that combines superb vocalisation with awe-inspiring circus performers.
What, you might be asking? Surely, the two art forms – soaring arias and world class acrobatics – are polar opposites. Truth be told that, as it turns out, they make for an exhilarating combination. So much so that I couldn’t more highly commend and recommend that you rush to see the 80 minutes of pure magic that is Orpheus & Eurydice.
It was originally envisaged by Patrick Nolan and created by Opera Queensland, in association with Circa, under the artistic leadership of Yaron Lifschitz. It has travelled from Brisbane to Sydney, Perth and Edinburgh. Now it is Melbourne’s turn to see and savour something mighty special, performed with Orchestra Victoria, conducted by the energetic Dane Lam.
It starts in stunning fashion. As the curtain rises, against a foggy backdrop, Eurydice, resplendent in red, dangles precariously, high above the stage, performing a series of dare devil manoeuvres. Her demise sees Orpheus, racked by grief and guilt, institutionalised. It is at this point that the Circa ensemble comes to the fore against pristine white, rich red and attractive green backdrops, fluidity of movement being its calling card. Ten nimble artistes – women in white, men in black – “invade” Orpheus’ mind, before forming pillars of power, one atop another, atop another.
The physicality throughout this production is breathtaking as bodies climb atop bodies before dropping. But that is not all. They are thrown and, in one instance, dizzily twirled, perilously close to the ground, drawing sharp intakes of breath from the audience. Making his Opera Australia debut as the mournful Orfeo (the Italian name for Orpheus) is electrifying British countertenor Iestyn Davies, in a flawless display. Opposite him, displaying magnificent clarity and control is Australian soprano Samantha Clarke as both Eurydice and Amore (Love).
Backed by the superb voices of the Opera Australia Chorus, everything about Orpheus & Eurydice is poised and polished. The production design is exemplary. Direction and set design, incorporating a small glass house and asylum setting, are by Yaron Lifschitz. Circa’s resident director is Eve Beck.
Projections – notably of a triggered Orpheus cascading – by Boris Baggatini are interspersed with surtitles incorporated into the set. The latter inevitably disappear like windswept grains of sand. The costuming by Libby McDonnell is striking, capitalising upon blocks of colour: red, black, white, beige and, later, monochromatic patterns. Alexander Berlage’s lighting further elevates the spectacle in one of the most extraordinary productions I have had the good fortune to see.
In short, Orpheus & Eurydice is outstanding. It is on at the Regent Theatre until 5th December, 2025.
Alex First
Other reviews you might enjoy:
- The Barber of Seville (Opera Australia), at Regent Theatre – opera review
- Carmen (Opera Australia), at Regent Theatre – opera review
- Ernani (Opera Australia) – opera review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
