In an episode from Mad Men (another excellent piece of art dating from 2007), Roger Sterling says it is particularly American to want a “tragedy with a happy ending.” Gluck’s Orfeo ed Euridice might ...

This is the oldest work that Mariusz Treli?ski has taken on in his 15 years as an opera director. He chose the Viennese version of Gluck’s opera, performed in Italian and with a baritone Orfeo.

Performances in N.Y.C. Advertisement Supported by Critic’s Pick The countertenor Anthony Roth Costanzo stars in a revival of Mark Morris’s witty, sensitively choreographed production. By Anastasia ...

Right from the outset, indeed, beginning with the overture, this new production of Orfeo ed Euridice, staged by Matthew Ozawa and choreographed by Rena Butler, strikes boldly at the heart of this ...

Christoph Willibald Gluck, an acclaimed composer and influential reformer, whose youth and musical beginnings are linked with Bohemia and Prague, gained worldwide fame owing to his unceasing quest to ...

One of the oldest stories in Western literature, Orfeo ed Euridice illustrates the power of love and the power of music. Gluck’s version appeared in 1762 and has a lovely, soothing baroque sound.

For more than nine decades, the Metropolitan Opera Radio Broadcasts have brought opera into millions of homes, playing a vital and unparalleled role in the development and appreciation of opera in ...

Mark Morris’s spirited take on the ancient Orpheus myth stars mezzo-soprano Jamie Barton as Orfeo, the grieving lover on a quest through the underworld. Soprano Hei-Kyung Hong sings the plaintive ...