The Atlanta Opera Guide (2009: 12) explains that the myth of Orpheus begins with him marrying his a nymph named lover, Eurydice, and soon after she was killed by a fatal snake bite. Distraught, Orpheus went to the underworld and by singing the saddest songs and playing beautiful music on his lyre, Hades and Persephone, Gods of the underworld, allowed him entry to the underworld to find Euridyce, on the condition that he does not look at her until they have left the underworld. Orpheus glanced at Eurydice, in an attempt to console her, and to make sure Hades was not deceiving him, and she was kept in the Underworld forever. Orpheus begged for a second chance, which was denied him, and in his grief played some of the saddest music. Thracian maidens, who had tried to seduce him and failed, became so disgust...
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...e faro senza Eurydice” and throughout his opera, in which he focuses more on simple beauty in the melodic vocal line, and a clear relationship between recitatives and arias in the structure of his opera.
Having enjoyed and investigated both operas it can be stated that between the time of Monteverdi and Glück, the innovations of Opera is obvious. The growth and development of opera in the timespan of 150 years between the earlier Baroque era to the time of the opera reform gives way to the characteristics of each different time. The two operas are model examples of how one facet in the development of music throughout the ages can change, highlighting the continuous evolution of music. The myth of Orfeo has a strong correlation with the concept of opera in general – making a lasting impression on a wide range of audiences, and ultimately displaying the power of music.
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