♪ Che faro senza Euridice

「次はオペラが歌える」と言われたので、すぐそのつもりになって曲を探してみた。同じ曲を繰り返し歌うしかないのだが、時々別の曲を入れたりすると気分転換に・・・（そんな余裕はない？？）

“Che farò senza Euridice” from Gluck’s ‘Orfeo ed Euridice’

「エウリディーチェを失って」

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Translations/Aria Texts:

ORFEO
Che farò senza Euridice
Dove andrò senza il mio ben?
Euridice! Euridice!
Oh Dio! Rispondi!
Io son pure il tuo fedel!

Euridice! Euridice!
Ah! non m’avanza
Più soccorso, più speranza,
Né dal mondo, né dal ciel!

Che farò senza Euridice?
Dove andrò senza il mio ben

What will I do without Euridice Where will I go without my wonderul one. Euridice, oh God, answer I am entirely your loyal one. Euridice! Ah, it doesn´t give me any help, any hope neither this world, neither heaven.

Luciano Pavarotti (Bari, 1984)

Sarahに発音を教えてもらった

Nymphs and shepherds celebrate the funeral rites of Eurydice, assisted by Orpheus, who laments her loss and reproaches the gods with cruelty.

Cupid tells him that he may, if he can, bring her back from the dead by the power of music, but must not look at her until she is in the land of the living again.

He encounters demons and Furies as he descends, calming them with his music, before entering the Elysian fields, where the blessed spirits dance. Eurydice questions him and faints, as they try to leave, causing him to look round, at which she dies once more.

He laments this turn of events, comforted by Cupid, who, rewarding his obvious fidelity, restores Eurydice to life once more.

The opera ends in a celebration at the temple of Cupid.Orfeo ed Euridice (Orpheus and Eurydice) is the first of Gluck’s reform operas, collaborations with Ranieri de’Calzabigi, in which composer and poet aimed at a noble classical simplicity, avoiding what Gluck described in his preface to Alceste as the abuses of excessive ornamentation and other elements that pandered to the vanity of singers.

Instrumental excerpts from the opera, which have appeared over the years in a variety of other arrangements, must include the famous Dance of the Blessed Spirits, which is preceded in the opera by the contrasting Dance of the Furies. Most moving is the lament of Orpheus when Eurydice has died a second time, Che farò senza Euridice 　(What am I to do without Eurydice).

ACT I

A lonely grove—Euridice’s grave. Nymphs and shepherds lament the death of Euridice, who was bitten by a snake (“Ah, se intorno a quest’urna funesta”). Left alone, Orfeo, Euridice’s husband, adds his voice to the rites (“Chiamo il mio ben così”). Only Echo replies. Orfeo vows to rescue Euridice from the underworld (“Numi! barbari numi”).ACT I

Amor, god of love, appears with word that Jove, pitying Orfeo, will allow him to descend into the land of the dead to retrieve Euridice. To make this trial more difficult, Orfeo must neither look at Euridice, nor explain why looking is forbidden. Otherwise he will lose her forever (“Gli sguardi trattieni”). Orfeo agrees and begins his voyage.

ACT II

The Gate of Hades. Furies and ghosts try to deny Orfeo’s passage to the underworld (“Chi mai dell’Erebo”). His lament softens and placates them. He is eventually allowed to pass through to the Elysian Fields.

Elysium. Orfeo is moved by the beauty of the landscape (“Che puro ciel”). Heroes and heroines bring Euridice to him (“Torna, o bella, al tuo consorte”). Without looking at her, he takes her away.

ACT III

A dark labyrinth. Orfeo leads Euridice toward the upper world, forbidden to look at her (“Vieni, segui i miei passi”). Orfeo can’t explain (“Vieni, appaga il tuo consorte!”). Euridice panics at the thought of a life without the love of Orfeo (“Che fiero momento”). In desperation he turns to her. She dies, again. Grief-stricken, Orfeo wonders how he can live without her (“Che farò senza Euridice?”). He decides to kill himself. Amor appears and stays Orfeo’s hand. In response to Orfeo’s deep love and devotion, Amor revives Euridice. The three return to Earth.

The Temple of Love. Orfeo, Euridice, Amor, the nymphs, and the shepherds all celebrate the power of love (“Trionfi Amore!”).

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Akemi_m; photo: Kobushi (Magnolia)