Orfeo ed Euridice

Tragic opera in three acts
Music: Christoph Willibald Gluck (1714-1787)
Libretto: Raniero de Calzabigi / Vienna Version, produced in the Burgtheater October 5, 1762
Musical directiors: Jean Claude Malgoire, Emmanuel Olivier
Directors and choreographers: Roser Montlló Guberna et Brigitte Seth
Assistant director: Michel Barthôme
Lighting and set design: Dominique Mabileau
Costumes: Thierry Guénin
Costume assistant: Stéphane Puault
Orfeo: Philippe Jaroussky
Euridice: Ingrid Perruche
Love: Olga Pitarch
Dancers: Corinne Barbara, Eric Grondin, Anne Laurent,vPhilippe Lafeuille, Fabrizio Pazzaglia, Isabelle Teruel
Choir: Vocal Ensemble of the Atelier Lyrique de Tourcoing / orchestra - La Grande Écurie et la Chambre du Roy
Toujours Après Minuit administration: Françoise Empio
Atelier Lyrique de Tourcoing administration: Catherine Noel

Vienna, 1762
Christoph Willibald Gluck
Tragic opera in three acts

Libretto by Raniero de Calzabigi

In 1761, Gluck met the Italian librettist Raniero de Calzabigi.  The same year, they wrote the ballet Don Juan, or the Feast with the Statue, from which succeeded three grand operas of the Viennese Reformation,  Orfeo ed Euridice in 1762, Alceste in 1767, and Paride ed Elena in 1770.  While Calzabigi abandons the mythylogical story of Orpheus in favor of the violent expression of human passion, Gluck purifies and elevates the music in perfect harmony with the dramatic action.  All comes together in the manifestation of pure emotion.  In 1768, in the letter of dedication of Alceste, addressed to the Duke of Tuscany, Gluck describes this new aesthetic: «  I thought I would keep music to its true office, that is to serve poetry through expression and the story's plot, without interrupting the action or cooling it down with superfluous ornamentation. (...)  Thus I didn't want to stop an actor in the great heat of the scene to hear a boring ritornello, nor cut a word on a favorable vowel to parade the agility of a beautiful voice, nor to have the orchestra give him the time to catch his breath (...); I imagined that the instruments' concert must present itself in proportion to both interest and passion (...).  Moreover, I believed that my greatest effort should be reduction in research of beautiful simplicity, and I avoided flamboyance at the expense of clarity; I judged a new discovery to be precious only when it was naturally demanded by the situation and by expression; in short, there is no rule of law that I believed should sacrifice good intention in favor of effect.  These were my principles... »
While in Monteverdi's l'Orfeo, the accent is placed on the divine power of Orpheus, here it is the role of death that dominates.  The work expresses human fragility.  Euridice dies, to the inconsolable pain of Orpheus.  She dies and revives several times, like a dream, the circle is repeated to infinity.  Carnal desire, the loss of a loved one, the power of love grapple in an obsessive spiral.
Choreography and staging are inseparable,  not only because this is an opera-ballet.  Dance is not an ornament, a distracting intermediary.  It is another language that enriches the subject to the same extent as the music and the script.  More than a spatial choreographic writing, dance is the body of the text.  It is directly linked to the characters and situations evoked, it expresses the unspoken.  It is the sensoral prolongation of words, music with flesh.  Part of a concrete situation, like the death of a loved one, it trancends simple meaning, transforming rationality to attain an emotional absolute through its power of poetic abstraction.  Dance incarnates the breakdown of the body, those dizzying plunges, but also pleasure, physical power, desire.
In addition to their own role, the dancers are simplified reflections of Orpheus, Euridice, Love, and the choir.  They accentuate the fabulous, the foreign, suggesting to the audience broken images...appearances, disappearances...dream, reality...mortal cycles, divine power...life and death.
Like choreography and production, song and acting are tied.  It is the dramatic action that dominates and the three soloists (Orpheus, Euridice, and Love) are also employed as actors.  The arias and recitatives strip down the basic emotions of the human soul.  Singers, dancers, musicians tell, in the same breath, the story of the desperate combat of man against death with the weapons that are his own: love, music, poetry, dance, art...
Roser  Montlló Guberna was born in Barcelona.  She studied at the Institut del teatre de Barcelona
and won first prize at the National Competition for Classical Dance in Spain.  In France, she has worked as interpreter and choreographer for numerous choreographical productions (Maguy Marin, Angelin Préljocaj, Tomeo verges, Les Pénélopes …).  She also is developing a career as actress and director for contemporary theater (Jean-Claude Penchenat , Sophie Loucachevsky, Jean-François Peyret …).
Brigitte Seth was born in Paris.  Educated in the arts and techniques of circus and mime, she works as interpreter, author, and directer within various dance and contemporary theater organizations (Théâtre Emporté, Théâtre Incarnat, Les Pénélopes…)
The multiplicity of the cultures and experiences shared by Brigitte and Roser drives them when they meet to produce a show, where theater, dance, and music are one.
Since 1995 they have conducted research in choreography and theater.  They are co-directors and manage together Toujours Après Minuit.  They have put on ten productions: El como quieres (As You Like) 1997, Personne ne dort (No One Sleeps) 1998, Suite pour quatre (Suite for Four) 2000, L’entrevue (The Interview) 2001, Rosaura 2002 , Revue et corrigée, es menschelt (Reviewed and Corrected) 2004, Epilogos, confessions sans importance (Epilogues, unimportant confessions) 2004 , Je te tue, tu me tues, le premier de nous tous qui rira…(I Kill You, You Kill Me, the first of us who will laugh...) 2006, Récitatifs toxiques (Toxic Monologues) 2007, et Galeria 2008.  From December 1999 to March 2000, they directed the choreography for the Monteverd itrilogy under the musical direction of Jean Claude Malgoire, and in 2001, at the Abbatiale at the festival Chaise-Dieu, they choreographed Madeleine aux pieds du Christ (Madeline at the Feet of Christ) by Antonio Caldara, musical direction by Arie Van Beck.  In 2007, they directed and choreographed Gluck's Orfeo ed Euridice, musical direction by Jean-Claude Malgoire.
Thanks to their rare and demanding artistic choices, the Atelier Lyrique de Tourcoing, led by Jean Claude Malgoire for the past 25 years, remains with each passing season a place of exemplary creation.  Its rays extend much farther than the North: the great stages of Paris welcome its productions regularly, as do those all over the surrounding area, regional capitals, and abroad.  The spirit that Jean Claude Malgoire creates in his group, in giving several roles to each artist in the course of the season, gives an additional dimension to his productions.  La Victoire d'Honneur which was awarded to him at the Tenth Annual Victoires de la Musique Classique in 2003 demonstrates his continuous work in creation, not to mention more than 4000 concerts and close to 150 recordings that include music from the Middle Ages to today.  The threepenny Opera that he presented with the staging of Christian Schiaretti received the 2004 Molière for best theater production in the region and the recording of Monteverdi's l'Orfeo won the Italian discographic critic's prize for best cd and dvd of an Italian opera for 2005.  The 2005-2006 season was marked by Jean Claude Malgoire's jubilee: 50 years in the arts, 40 of which were spent at the head of La Grande Écurie et la Chambre du Roy.  In honor of  the entirety of his career, he was awarded the prize in honorem of the Charles Cros academy in 2005.

Production :

Atelier Lyrique de Tourcoing.


Toujours Après Minuit in Paris.  Toujours Après Minuit is in residency at Micadanses in Paris, and is subsidized as part of the aid  for choreographic companies by the DRAC.