in Early Music Today (Dec, 2015)
For me the major significance of Orfeo ed Euridice is not its place in the so-called ‘reform’ of opera, which is exaggerated, but rather its unique ability to express grief and loss with simple, intensely touching dignity. It is this Classical restraint that lies at the heart of this quite exceptional performance of the original Vienna version of 1762. This is not to suggest there is anything remotely underplayed in Fagioli’s assumption of the role, or indeed the performance as a whole.
The scenes with the restored Euridice, the exceptional Malin Hartelius, simmer with repressed physical desire, while the drama of the Hades scene is articulated not only by Fagioli’s …
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