Maquette_01Maquette_02Maquette_03Orfeo_001Orfeo_002Orfeo_003Orfeo_004Orfeo_005Orfeo_006Orfeo_007Orfeo_008Orfeo_009Orfeo_010Orfeo_011

La Tragedia d’Orfeo

Opera Studio Nederland

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MUSIC

C. Monteverdi

DIRECTOR

Pierre Audi

CONDUCTOR

Trisdee na Patalung

SCENOGRAPHY | COSTUME

Clement & Sanôu

LIGHT

Clement & Sanôu in co-operation with Jurgen Kolb

PHOTOGRAPHY

Boy Hazes

PREMIERE

26 oct 2010 Rabozaal Stadsschouwburg Amsterdam

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The death of Orfeo’s newly wedded Euridice is fuel for his wounded ego, inspiring him to greater heights and introducting him to the dark temptations of an underworld that go hand in hand with greater stardom and the  irresistible inflation of his narcissism.

An organised landscape of aluminum tables crossing the path of the orchestra pit and winding through the public space. Dozens of industrial aluminum lamps hang like serene celestial bodies in space. A space that turns Orfeo’s soul inside out as soon as the underworld appears, and a lonely graveyard of furniture graces the stage.

“The underworld of the soul is not a comfortable place for the ego.” -Pierre Audi-

Who is Orfeo? Semi-God, superstar, singer/songwriter, consumed by success and sex appeal, and by a sudden twist of fate, ended up in a marriage to one of his numerous admirers. Unable to love, is Orfeo only himself when he can be the centre of attention, tempting all and everyone with a share of

Who is Orfeo? Semi-God, superstar, singer/songwriter, consumed by success and sex appeal, and by a sudden twist of fate, ended up in a marriage to one of his numerous admirers. Unable to love, is Orfeo only himself when he can be the centre of attention, tempting all and everyone with a share of his glory.

The death of his newly wedded Euridice is fuel for his wounded ego, inspiring him to greater heights and bringin him into contact with the dark temptations of an underworld that goes hand in hand with greater stardom and the  irresistible inflation of his narcissism.

An organized landscape of aluminum tables crosses the path of the orchestra pit and winds its way through the public tribune.
Dozens of industrial aluminum lamps hanging like serene celestial bodies in space.  A space that turns his soul inside out as soon as the underworld makes her appearance, and a lonely graveyard of furniture graces the stage.

‘The underworld of the soul is not a comfortable place for the ego’

his glory.

The death of his newly wedded Euridice is fuel for his wounded ego, inspiring him to greater heights and bringin him into contact with the dark temptations of an underworld that goes hand in hand with greater stardom and the irresistible inflation of his narcissism.

An organized landscape of aluminum tables crosses the path of the orchestra pit and winds its way through the public tribune.
Dozens of industrial aluminum lamps hanging like serene celestial bodies in space. A space that turns his soul inside out as soon as the underworld makes her appearance, and a lonely graveyard of furniture graces the stage.

‘The underworld of the soul is not a comfortable place for the ego’