This is the second 17th-century opera I’ve seen (the first being Cavalli’s La Calisto at Glimmerglass two years ago). Indeed, L’Orfeo is from 50 years earlier, first performed in 1607. It’s based on the timeless story of Orpheus and Eurydice; several operas have been written on the topic. The most famous is Gluck’s Orfeo ed Euridice (1762 premiere), which the Dallas Opera performed last year as a metaphor for dementia in a uniquely moving production.
I say all this to point out that I’m familiar with the limitations of early opera and that I appreciate it when directors try a unique concept. With that windup complete, I must admit that this production made me want to roll my eyes. My hackles were raised before the show even started, as I perused the program and read that director William Kentridge is “one of the most influential artists of our time.” Do I want opera to be given money and prestige? Yes. Do I also want it to have a sense of whimsy so it doesn’t take itself too seriously? Also yes. This production did not clear that second bar.
Kentridge decided to make his own paintings the star of the show. For the entire production, his paintings and drawings were projected across the entire back of the stage. And here’s my central problem: the visual is undeniably rich and bold, but at a certain point it stops serving the music and starts becoming a separate work of art that happens to be sharing a room with Monteverdi. The opera ends up playing second fiddle to the gallery show.
I’m sure many will disagree with me and proclaim Kentridge’s genius, but I believe that if something needs PAGES of explanation in a program to describe the concept, it doesn’t work. I guess it’s hard to say no to a big-name artist?
The people who deserve the most credit are the orchestra and singers. The Orchestra of the Age of Enlightenment, led by Kati Debretzeni (under conductor Jonathan Cohen), was remarkable, mastering a variety of almost-extinct baroque instruments. Soprano Francesca Aspromonte and mezzo Xenia Puskarz Thomas were absolutely beautiful singers, with the clear pitch and tone this style of opera requires. Tenor Krystian Adam acted and sang as if he were in the Romantic age of opera, but it worked!
This was a co-production with the Met and the Greek National Opera. Let’s just say I will not be revisiting it in New York or Athens.
Opera: L’Orfeo
Composer: Claudio Monteverdi
Venue: Glyndebourne Festival
Date: July 3, 2026
Link: https://www.glyndebourne.com/events/lorfeo/
Opera Nerd 
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