The Opera Tattler

  * Notes * 
The latest revival of the Metropolitan Opera's Orfeo ed Euridice (pictured left, © Marty Sohl/Metropolitan Opera) opened last night. The production, directed by Mark Morris, is busy. Done without an intermission, every second seemed full of movement. Allen Moyer's set opened, closed, shifted, and spun. Unfortunately it was rather loud, especially noticeable because the music is not. The staircase that descended and ascended could have illuminated the drama in some fashion, but simply created too much noise to be revealing. The lighting was simple and unobtrusive. The dancing had some elegant lines, and was rather humorous at times. Isaac Mizrahi's dress for Euridice was pleasant enough, as was the suit for Orfeo, and the subdued historical costumes of the chorus. Amor and most of the dancers had mundane street clothes on, they all seemed to be wearing separates. I did not understand the use of glittery cloth.

In his Met debut, Antony Walker drove the orchestra at a good clip. There were times when the musicians sound just on the edge of losing control and this was engaging. The chorus was ethereal and pretty. As Euridice, Kate Royal's Met debut revealed a voice with smooth edges, not terribly voluminous, but perfectly audible. Lisette Oropesa (Amor) seemed a bit compressed, especially in her entrance, as she was suspended from the ceiling. She did have moments of pure loveliness. David Daniels warbled as Orfeo, especially at first, but had pleasing warmth throughout. "Che farò" was beautiful.

* Tattling * 
Standing room on the orchestra level was full of whispering, but most of it died down once much of the dancing was underway. After the performance, some female patrons were seen switch out their shoes in the orchestra lobby. Evidently someone did not find this dignified, commenting that it was a "show after the show."