Ross Wassermann tracks the development of “Che farò senza Euridice?” — and “J’ai perdu mon Eurydice” — for this month’s Perspectives on an Aria
There are no words superlative enough to describe this celebration of Orpheus’ grief, and I truly applaud San Francisco Opera for presenting such food for thought that will definitely resonate long after with me.
Neumeier adapted the story close to home, making Orpheus a choreographer and his wife a star ballerina.
For decades thousands and thousands have attended Handel’s Messiah (usually around Christmas or more appropriately near Easter) making it easily one of the most widely known works of classical music.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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