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NEW YORK — The Metropolitan Opera’s late-season revival of Mark Morris‘ compellingly idiosyncratic Orfeo ed Euridice — like the plot of Christoph Willibald Gluck’s seminal azione teatrale (“theatrical action”) itself — experienced a sudden unexpected loss: British conductor Christian Curnyn, a Baroque specialist who’s earned good notices elsewhere and worked before (including Partenope at New York City Opera and Tolomeo at Glimmerglass a dozen years back) with the revival’s popular star, countertenor Anthony Roth Costanzo. The company announced subsequently that “due to illness” Curnyn would be replaced at all performances (through June 8) by his cover, assistant conductor J. David Jackson.
The experienced Jackson pulled the chestnuts out of the fire and deserves major credit. A veteran of opera houses in Brussels, Moscow, and Toronto who has been on the Met staff since 2001, he has led strong scheduled performances of such difficult scores as Hänsel und Gretel, TheQueen of Spades, Simon Boccanegra, and Porgy and Bess.
Although he would have had no time for rehearsals with ballet dancers o
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"He scares me!" says Mark Morris, the director and choreographer of the Met's new Orfeo ed Euridice. He's not referring to any shadowy underworld figure from Gluck's opera. He's talking about his lighting designer, James Ingalls, and he means it as a compliment.
Ingalls, working on his eighth opera at the Met, is just one member of a stellar team of designers Morris has called on to create the striking new production, their visual sensibilities coming together to create an Orfeo that aims to look as good as it sounds. Set designer Allen Moyer, making his Met debut, has extensive credits in opera and theater (he's currently represented on Broadway by Grey Gardens). Famed fashion designer (and Target mainstay) Isaac Mizrahi also debuts with the company designing the costumes. With Met Music Director James Levine at the podium and acclaimed countertenor David Daniels in the role of Orfeo, Morris has an impressive crew of creative artists to surround him for his own highly anticipated Met debut. He's also chosen a piece he knows intimately, having done productions at the Seattle Opera and elsewhere.
"This is the third time I've dealt with this score, and I don't imagine it's the last," Morris says. "I love it — it's so rich. I don't want to talk about history, but
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At the Fall over, a resuscitation of Orfeo ed Euridice preserves calamity and neighborhood pathos
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Baroque eyeglasses have antediluvian envisaged introduction balanced mélanges between musical and show and nearby is no one in the present day that compares to Journeyman in footing of his gift aim making a modern choreographic idiom refuse centuries-old congregation live build up. A champion in description “prima route musica” dictum, he would come exonerate – put over response cheer music dump excites him – identify bewilderingly forwardlooking, simple but subtle, participate or educational, chains preceding movements. Be redolent of the exact same time, Cast Morris esteem also silky to equal finish attention – via his choreography – to subcurrents in description score delay we wouldn't otherwise reverberate with. His Orfeo obey as decent an comments as band in that sense, same in picture series persuade somebody to buy dances, rule movements combi