PHILIP GLASS: Orphée (complete opera) – The Portland Opera /Portland Opera Orchestra/ soloists/Anne Mason, conductor – Orange Mountain Music (2 CDs), 102:18 [Distr. by Harmonia mundi] ****:
By now, there are few people who do not know of Philip Glass and few who have not heard even some of his trademark trance-like repetitive music built on raw tonalities and simple instrumentations (even if they do not realize it at the time). I have followed Glass’s music since its earliest available recorded sources and from what live performances I could get since the early 1970s. Over the years, the “sound” and the uniquely definable character of his voice have not changed too much. I think that history and musicology will remember him as a key American composer (a different debate, perhaps). However, one thing that is also true is that some of his greatest successes have come in the world of theater; opera in particular. This latest recorded entry from the very large Glass opera catalog is a prime example of a more complex, emotional Glass – even more melodic – than his very earliest settings of drama into voice; “Einstein at the Beach” being the earliest example and “Satyagraha” being, perhaps, the best known.
In this case, the source material is Jean Cocteau’s 1949 film, Orphee, a reworking of the Greek myth of Orpheus, a renowned poet and musician. In the original mythology, Orpheus’ wide Eurydice is killed by a viper. So great is Orpheus’ grief, he travels to the underworld (land of the dead) to beg that she be brought back to life. His request is granted but only on the condition that Orpheus not look back on her while leaving Hades. In the myth, Orpheus cannot contain his anticipation, he turns to look at Eurydice and embrace her. She, in turn, is dragged back into the underworld forever and Orpheus is, himself, killed in the land of the living by marauders but still cannot see his beloved even after death.
Cocteau’s rendition – and Glass’s own libretto – is set in contemporary Paris. At the Café des Poètes, a brawl is staged by followers of the Princess Casares (sung here by Lisa Saffer) and the young poet Cègeste (Steven Brennfleck), a rival of Orpheus, is killed by a wayward motorcycle. Cègeste’s body is taken to the Princess’s car by her associates, and Orpheus (performed marvelously by Philip Cutler) is asked to accompany them as a witness. Orpheus becomes obsessed with Death, personified by the Princess, particularly after Cègeste is mysteriously brought back to life to act as a messenger between the two worlds. Heurtebise (sung by Ryan McPherson), her chauffeur, feels an unrequited love for Orpheus’s wife Eurydice; another wonderful performance sung by Georgia Jarman. They do fall in love. However, Eurydice is killed by the Princess’s henchmen and Orpheus goes after her into the Underworld. Although their new relationship is complex and foreshadows disaster, the Princess sends Orpheus back out of the Underworld, to carry on his life with Eurydice, but he cannot look at her or she will die; as in the original. They believe it to have been a dream, Eurydice is revealed to be alive, and expecting a child. In Glass’s opera, there is something of a happier ending in that Orphee and Eurydice are reunited and the Princess and Heurtebise are escorted back to the Underworld by some minions of Hades; represented by motorcycle riders.
The performances in the production are all first rate. While none of the singers are “household names” yet, they are all very strong performers with a clear understanding of both the drama as well as the composer’s tricky flowing style. The Portland Opera orchestra under Maestra Manson’s direction gives a very strong, clean performance as well. There are so many things to like about Glass’s opera scores, in my opinion. This particular performance ranks very high with his best. It is his third adaptation of a Cocteau film, the previous being “La Belle et La Bête” (Beauty and the Beast) and “L’Enfants Terrible” (colloquially translated as “Holy Terrors”). It seems that Mr. Glass is at his strongest when writing music for the theatre and, of the many operas, those that stem from literary sources seem the strongest. Another recent entry, “Waiting for the Barbarians”, an opera from J.M. Coetzee’s novel, had its premiere performance in September, 2005.
If a listener is quite familiar with Philip Glass, one tends to become an avid fan (as I admit I am) or a very reluctant participant. This work should provide ample appeal to anyone interested in the Greek myth or in Cocteau. Congratulations and ample gratitude to Glass and his long- time sound engineer and ensemble partner Michael Riesman for creating Orange Mountain Music to, ultimately, record all of Glass’ music and with the highest in production and marketing values. Bigger kudos are due to the Portland Opera, for this is, apparently, its first commercially available professional recording. What a strong, courageous and impressive start to what we hope becomes a trend! I suggest that a Glass aficionado will love this piece and a first ever listener just might. Well worth checking out! [As is the original Cocteau film…Ed.]
— Daniel Coombs
