Euridice (Peri)

Euridice (; also Erudice or Eurydice) is an opera by Jacopo Peri, with additional music by Giulio Caccini. It is the earliest surviving opera, Peri's earlier Dafne being lost. (Caccini wrote his own "Euridice" even as he supplied music to Peri's opera, published this version before Peri's was performed, in 1600, and got it staged two years later.) The libretto by Ottavio Rinuccini is based on books X and XI of Ovid's Metamorphoses which recount the story of the legendary musician Orpheus and his wife Euridice.

The opera was first performed in Florence on 6 October 1600 at the Palazzo Pitti with Peri himself singing the role of Orfeo.Pietropaolo, Domenico and Parker, Mary Ann (2011). The Baroque Libretto: Italian Operas and Oratorios in the Thomas Fisher Library at the University of Toronto, p. 60. University of Toronto Press

Composition history

Euridice was created for the marriage of King Henry IV of France and Maria de Medici. The composition is typically considered to be the second work of modern opera, and the first such musical drama to survive to the present day. (The first, Dafne, was written by the same authors in 1597.)

Since both the libretto and score were dedicated to the new Queen of France, Marie de' Medici, some scholars have recognized a possible parallel between Euridice and Orfeo and the Queen and King of France. While the comparison is readily made, some scholars argue that the traits of King Henry IV are different from Orfeo, especially with respect to Orfeo's most famous deed. Orfeo loved Euridice so much that he journeyed to Hell and back, quite literally, to unite once more with his beloved wife while King Henry IV wouldn't travel as far as Florence to retrieve Medici.

At the premiere, many of the other roles were filled by members of Caccini's entourage, including his daughter Francesca Caccini. Peri composed all of the music for the first production, but owing to the integral involvement of Caccini and his performers, some of Peri's music was finally replaced by that of Caccini. When Caccini discovered that Peri intended to publish the opera with the added Caccini pieces, he rushed to finish his own version of Euridice using the same libretto, and managed to have his published before Peri's. In his preface, Peri notes that all of the music was completed by the date of the first performance earning his efforts the designation Prima Euridice.

In creating the music for Euridice, Peri envisioned a vocal style that is half sung and half spoken. For less dramatic parts he created vocal lines close to the style of spoken language set over a sustained accompaniment. For impassioned scenes he explored stronger and more rapid melodies with steadily changing harmonies. Peri's critics have observed that within the score of Euridice, he created no musically remarkable examples of either. However, he did use ranges and widths of register, as well as frequency and power of cadences, to distinguish different characters and dramatic moods. The voice and accompaniment are carefully paced to emphasize the tension and release in the text. Rhythmic and melodic inflections in the vocal lines closely, almost scientifically, imitate dramatic speech. In addition, impassioned exclamations are set with unprepared dissonances and unexpected movements in the bass.

All qualitative judgments aside, even his greater detractors admit that with Euridice Peri managed to establish sound principles for operatic composition.Oldmeadow, p. 121 The work establishes in opera the dual resource of aria and recitative, and it explores the use of solo, ensemble and choral singing.

Roles RoleVoice typePremiere cast6 October 1600La Tragedia soprano castrato"Giovannino del Signor Emilio" (de' Cavalieri),i. e. Giovannino BoccheriniEuridice sopranoVittoria Archilei Orfeo tenorJacopo PeriArcetro, a shepherd contralto castratoAntonio Brandi Aminta, a shepherd tenor Francesco RasiTirsi, a shepherd tenor Francesco RasiCaronte bassDafne, a messenger boy soprano (en travesti)Jacopo GiustiPlutonebass Melchior PalantrottiProserpinasoprano castrato (en travesti)Fabio, "castrato del Signor Emilio"Radamantotenor Piero MonVeneresoprano castrato (en travesti)Fabio, "castrato del Signor Emilio"Nymphs and shepherds, shades and deities of hell

Synopsis Peri's Euridice Hilltells the story of the musician Orpheus and Euridice from Greek Mythology. According to myth, Orpheus was a great musician who journeyed to the underworld to plead with the gods to revive his wife Euridice after she had been fatally injured.

Act 1 It opens with a simple melody by a singer representing the Tragic Muse, La Tragedia, and a short ritornello. Shepherds nearby and the Tragic Muse sing a conversation in recitatives and choruses, Daphne enters to notify everyone that Euridice has been fatally bitten by a serpent.

Scene 1

All of the nymphs and shepherds gather to celebrate the wedding of Orfeo and Euridice.

Scene 2

Orfeo is content after his wedding but is soon interrupted by Dafne. She brings the terrible news that Euridice has been bitten by a venomous snake and has died. Orfeo then vows to rescue her from the underworld.

Scene 3

Arcetro recounts that while Orfeo lay weeping, Venus, goddess of love, carries him off in her chariot.

Act 2 This opens with Orpheus pleading with Venere, Plutone, Prosperina, Caronte, and Radamanto in the underworld for the return of his beloved wife Euridice. Nearly the entire scene is carried in recitative. When the act closes, Orpheus is back with Tirsi and the other shepherds.

Scene 4

Venus and Orfeo arrive at the gates of the underworld. Venus suggests that through his legendary voice he might persuade Pluto to return Euridice to life. Orfeo succeeds and is allowed to leave with his bride.

Scene 5

Orfeo and Euridice return from the underworld and rejoice.

Musical numbers PartsSources for the libretto divide the work into a prologue (one scene) and one Act with six scenes. Modern recordings tend to divide the opera into a prologue, a first act, with scenes 1–3, and a second act, with scenes 4–5. It is unclear why these different descriptions have emerged, but the confusion is largely cosmetic: in the end, the score, libretto and recording cited here all contain the same individual musical numbers.ScenesIndividual worksCharactersPrologueScene 1Prologo – Io, che d'alti sospir vaga e di piantiLa TragediaAct 1Scene 1Ninfe, ch'i bei crin d'oroPastore del coro, Ninfa del coroVaghe ninfe amoroseArcetro, Pastore del coro, Ninfa del coroDonne, ch'a' miei dilettiEuridice, Ninfa del coroCredi, ninfa gentileAminta, Pastore del coroIn mille guise e milleEuridice, CoroAl canto, al ballo, all'ombra, al prato adornoCoro, Pastore del coro, Ninfa del coro, Altre Ninfe del coroScene 2Antri, ch'a' miei lamentiOrfeoSia pur lodato il ciel, lodato AmoreArcetro, OrfeoTirsi viene in scena sonando la presente ZinfoniaOrfeo, TirsiDeh come ogni bifolco, ogni pastoreArcetro, OrfeoLassa! Che di spavento e di pietateDafne, Arcetro, OrfeoPer quel vago boschettoDafne, ArcetroNon piango e non sospiroOrfeoAhi! Mort' invid' e riaArcetro, Dafne, Ninfa del coroSconsolati desir, gioie fugaciAminta, Ninfa del coroCruda morte, ahi pur potestiCoro, Ninfa del coro, Due Ninfa e un Pastore del coroScene 3Se fato invido e rioArcetro, CoroCon frettoloso passoArcetro, Dafne, CoroIo che pensato havea di starmi ascosoArcetro, Pastore del coroSe de' boschi i verdi onoriCoroPoi che dal bel serenoPastore del coro, CoroAct 2Scene 4Scorto da immortal guidaVenere, OrfeoL'oscuro varc'onde siam giunti a questeVenereFuneste piagge, ombrosi orridi campiOrfeoOnd'e cotanto ardirePlutoneDeh, se la bella DivaOrfeoDentro l'infernal portePlutone, OrfeoO Re, nel cui sembianteProsperpinaA si soavi preghiOrfeo, PlutoneSovra l'eccelse stelleCaronte, Plutone, OrfeoTrionfi oggi pietà ne' campi inferniPlutone, Orfeo,Poi che gl'eterni imperiDeita D'Inferno primo coro, Secondo coro, RadamantoScene 5Già del bel carro ardenteArcetro, CoroVoi, che sì ratt'il voloAminta, Coro, ArcetroQuand'al tempio n'andaste, io mi pensaiAminta, Pastore del coroChi può del cielo annoverar le stelleAminta, ArcetroGioite al canto mio selve frondoseOrfeo, Ninfa del coroQuella, quella son io, per cui piangesteEuridice, Ninfa del coro, Dafne, Arcetro, Orfeo, AmintaModi or soavi or mestiOrfeoFelice semideo, ben degna proleAmintaRitornello strumentaleTutto il coroBiond' arcier, che d'alto monte(ritornello instrumentale) Various chorus names are as they appear in the original Italian score. Pastore, Ninfa/Ninfe, and Deita D'Inferno refer to choruses of shepherds, nymphs and Deities of Hell respectively.

Euridice (Peri)

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