At last she approaches, and he clasps her
in his arms, while a chorus of perfect beauty bids him farewell as he
leads her in triumph to the world above. The third act shows the two
wandering in a cavern on their way to the light of day. Eurydice is
grieved that her husband should never look into her eyes, and her faith
is growing cold. After a scene in which passionate beauty goes side by
side with strange relapses into conventionality, Orpheus gives way to
her prayers and reproaches, and turns to embrace her. In a moment she
sinks back lifeless, and he pours forth his despair in the immortal
strains of 'Che faro senza Euridice.' Eros then appears, and tells him
that the gods have had pity upon his sorrow. He transports him to the
Temple of Love, where Eurydice, restored to life, is awaiting him, and
the opera ends with conventional rejoicings.
Beautiful as 'Orfeo' is--and the best proof of its enduring beauty is
that, after nearly a hundred and fifty years of change and development,
it has lost none of its power to charm--we must not be blind to the fact
that it is a strange combination of strength and weakness. Strickly
speaking, Gluck was by no means a first-rate musician, and in 1762 he
had not mastered his new gospel of sincerity and truth so fully as to
disguise the poverty of his technical equipment. Much of the orchestral
part of the work is weak and thin.
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