Orpheus and Eurydice—the story has had a profound impact on many composers over the years, and can even be credited with the inspiration for the formation of opera itself. It is easy to see why musicians are attracted to it. Orpheus, being the greatest musician in legendary and mythic history, wields his instrument not just for aesthetic pleasure, but also for a certain kind of power. He could make grown men weep, ladies swoon, rivers change their course, and rocks move by themselves. His art personifies the power and even mystical elements of music. Aside from art–his love of Eurydice, the woman who while being assaulted stepped on a snake and died, and then was pursued relentlessly into the netherworld by Orpheus using the power of his music—he represents the consummate lover, one who loved greatly and lost his beloved twice, once not of his own doing, and once the direct consequence of his own actions. It is easy to see how this star-crossed man would become frequent fodder for famous composers.
Then there is the tragedy of his own life, whereas he is torn to pieces by the women of Thrace, inspired by the god Dionysius, jealous of the artist’s attention shown to Apollo. The story (and its many variants) is rife with all sorts of dramatic and musical possibilities. This certainly explains the temptation that overtook the folks at ATMA when considering this excellent concept idea for Charles Daniels and the contingent that makes up Montreal Baroque. What they have done is recorded a selection of English, Italian, and French songs that touch on the Orpheus legend. Nine of the 17 selections are vocal, and there is a fine mix of styles. I should include the caveat that some of these songs are of a similar temperament—not surprising, considering the subject matter—so one must not be anticipating overwrought bouts of happiness when listening to this. And these songs are somewhat innovative in that they portray simple themes done in a simple manner, with a voice accompanied in true song style with elementary continuo, contrary to some of the more involved music of the Baroque era. But the selections, integrated with harpsichord, organ, treble and bass viols, and lute, are quite colorful, and lend themselves to so very persuasively rendered music. Tenor Daniels sings plainly, directly, and without affection, giving the music and the storyline every opportunity for understanding and comprehension, preferring to let the music speak for itself without excess emotive content.
The sound on this recording is superb, quite resonant and clean, with excellent surround properties. This is a fine consort album with an excellent concept behind it. Let’s hope for more from these forces in the future.
— Steven Ritter
