Orfeo ed Euridice, created in Italian and in Vienna in 1762, is the best known of Gluck's operas. He is also the one in the history of music whose libretto marks the moment of a clear break with the form of the opera seria, which prevailed then in Italy as well as in Austria. The booklet contains a mythological intrigue, instead of a historical plot, and it renounces political or love entanglements. The number of characters has been reduced from six to three. In return, as in the ramist opera - and this is not their only common point - the choir has gained in importance and with the ballet, it is now integrated into the plot. Finally, instead of a traditional alternation between recitative that advances the plot and the air of reflection that follows, we now find large coherent scenes. The revolution is immense. And yet Gluck is now often perceived as the figure of absolute and immovable classicism. Error or paradox? In any case, this Orfeo is one of the greatest masterpieces of our Western culture. An opera in concert version is not an opera without a theater. On the contrary! Singers who are well-established in exercise know that the absence of sets, costumes, backstage forces them and the orchestra and its conductor to live and play the drama even more intensely than in the theater. And this often gives, a fortiori with such soloists, magnificent evenings. Sophie Junker - Euridice Marie Perbost - Love Iestyn Davies - Orfeo