Eurydice (Joélle Harvey), Orpheus (Daniel Teadt), Eurimedes (Victor Ryan Robertson) and Ascalax (Daryl Freedman) in New York City Opera's production of Telemann's "Orpheus."For centuries, Orpheus has fascinated composers, from Claudio Monteverdi to Philip Glass. But of those who have turned the mythological musician’s underworld-charming lyre tunes to opera, Georg Philipp Telemann hasn’t received much attention.
At El Museo del Barrio, New York City Opera's revival of his "Orpheus" has its last performance this weekend. The little-known venue turns out to be, as general manager and artistic director George Steel promised, an undiscovered gem. At 600 seats, it may not garner much in regular ticket sales but could be ideal for a gala.
The opera is less convincing as a forgotten jewel.
In Telemann’s version, the young lovers aren’t subject to mere fate, but jealousy. Orasia, Queen of Thrace, pines for Orpheus and orders a serpent to kill Eurydice. The twist on the familiar story is welcome and there are some touching and lively moments. But for the most part, Telemann’s vocal writing isn’t all that melodically interesting. And the libretto, partially borrowed from his contemporaries’ operas, is a hodgepodge of German, French and Italian. Even with English subtitles, the transitions are jarring. The cast offered appealing, fresh voices, but only one true standout.
Director Rebecca Taichman faced a challenging task as stock baroque arias — rage, bravura, lament — tediously repeated the same tiny fragments of text, some of which were more relevant to the plot than others. (A secondary character proclaiming that love was better than vengeance, for example, added little.)
More often than not, Taichman created a stylish, effective and sexy production, aided by David Zinn’s sets and costumes and Mark Dendy’s choreography. She framed the opening as the central couple’s opening wedding reception, with a curved black table that could break apart, anchoring the action. Catherine Miller danced solo on the cozy stage, wildly contorting as the serpent.
In the underworld, Pluto appeared as a tech CEO, with damned spirits typing away in his sleek office while he ate oysters and sipped vodka. Other playful touches included big-haired ladies-who-lunch types as spirits of rage and a woman treating her suitor to a noogie rather than a kiss.
Conductor Gary Thor Wedow led the orchestra in a taut, refined account of the score, which contained echoes of Bach, Lully and Vivaldi. Among highlights were a wedding dance with a firm beat, hand claps and piping flutes. For the serpent’s kiss, repeated notes clashed and pulled against each other, dissonant in harmony and staggered in time.
Baritone Daniel Teadt sang the title role with sincerity. Dramatically, however, he seemed less confident than his castmates.
As Eurydice, Joélle Harvey displayed enough charisma, musical and dramatic ease, and distinctive vocal color to make an ingénue truly memorable.
Jennifer Rowley played up Orasia’s hysterical tendencies, imparting a diva presence to the vocally demanding role. Her full, dusky soprano sometimes grew edgy and insecure on top, though, and while her command of florid arias was capable, it was not quite masterful.
Of the more compelling smaller roles, Victor Ryan Robertson sang elegantly as Orpheus’ confidante Eurimedes and Nicholas Pallesen made a commanding Pluto, with a gratifyingly round tone and solid fioritura.
Orpheus
Where: El Museo del Barrio, 1230 Fifth Ave. (at 104th Street), New York
When: Sunday at 1:30 p.m.
How much: $250; call (212) 870-4210 or visit nycopera.com