Orpheus and Eurydice – Edinburgh Playhouse

From the lone woman in red descending during the overture to the final full stage that yet starkly reflects the beginning, this multi-company production of the Gluck & Calzabigi Orfeo ed Euridice presents stunning spectacle. Does something so visually focused serve opera?

The original 1762 production was part of a reformation of opera which challenged elaborate action and technique centred “extreme sport” opera, as noted in the programme, which also includes Gluck’s own striving for music’s “true office of serving poetry by means of expression and by following the situations of the story, without interrupting the action or stifling it with a useless superfluity or ornaments.”

The original opera still included dance, and, for the most part, Yaron Lifschitz – director and set designer – has choreographed, with Bridie Hooper and the Circa ensemble, acrobatic movement that explores, highlights, supports and expresses Orpheus’ grief at the death of his new bride Eurydice and his journey – initiated by Love (role of Amor) – to the Underworld. There he charms the Furies into gaining the opportunity to bring Eurydice back to life – if he can refrain from looking at her or explaining what is going on to her until they are both back on earth.

Lifschitz’s take on this classic myth and seminal opera includes an asylum setting, acrobats reflecting psychological aspects, and his own stamp on the ending, all of which proves visually effective. He is ably assisted by lighting designer Alexander Berlage’s swathes of strong colour and Boris Bagattini’s subtle video projections, as well as Libby McDonnell’s costume design, which sees the Circa performers reflect Orpheus and Eurydice in changing costumes, coloured red, black and flesh-toned, whose flowing lines aid both graceful movement and gasp-inducing acrobatics.

Scottish Opera’s chorus appears in black jumpsuits before a change to black, grey and white patterns and make-up which reflect Lifschitz’s vision for the end, adding to those stunning visuals. The choral voices and Scottish Chamber Orchestra’s playing, under the direction of Laurence Cummings, impressed in their control, musicality and support of countertenor Iestyn Davies as Orpheus and soprano Samantha Clarke as both Amor and Eurydice. That Amor was a separate role was not at first clear to anyone new to the opera, due to the early identification of an acrobatic Eurydice with the red dress Clarke also wore. Clarke, however, shone in presenting their very different characteristics, shifting vocally and physically from the sultry Amor and the blindfolded, questioning and suffering Eurydice, who cannot understand nor believe in the changed Orpheus come for her, due to the rules he must follow.

As Orpheus, Davies excels in delivering the beauty of this mythically most famous of singers, whose voice can move even stones. His control not only of diaphragm but entire body, singing whilst standing supported on the shoulders of a Circa performer, was amazing to see and there were moments where his purity of voice held a stillness that felt like a theatre full of awe.

This beauty, however, was only effective on some in the audience when it came to evoking the emotion one might expect from such grief as that of Orpheus. In the end, all the movement representing the central couple did not allow the breathing space and focus on Orpheus and Eurydice which could create the strongest identification with them and their plight.

This Orpheus and Eurydice, also produced by Opera Queensland and Opera Australia, pushes the envelope on opera presentation, entertaining with both sight and sound, and stirring some to standing ovation. It is also a great stimulus to ask what does – and what doesn’t – work when merging performance forms. Overall successful as entertainment, it would still benefit from some redirection to better serve emotional resonance.

Reviewer: Danielle Farrow

Reviewed: 16th August 2025

North West End UK Rating: