Adelaide Festival audiences witnessed something extraordinary this week: the long‑forgotten Baroque masterpiece Orfeo by Luigi Rossi, brought dazzlingly to life by France’s Ensemble Pygmalion under the direction of Raphaël Pichon. Performed in concert form yet brimming with theatrical flair, this Australian premiere proved that a 17th‑century opera can still stir powerful emotion and ignite curiosity nearly four centuries after its Paris debut. The Ensemble Pygmalion performed three different concerts in its Adelaide Festival exclusive performances over the past week, the others being Bach: Good Night World and Monteverdi’s Vespers.
The myth of Orpheus (Orfeo in Italian) and his lost love, Eurydice, has long explored the profound forces of love and death that shape human life, inspiring artists and audiences for thousands of years. When Luigi Rossi’s Orfeo premiered in Paris in 1647, it became one of the earliest operas written specifically for the French court. Commissioned by Cardinal Mazarin to introduce Paris to Italian musical theatre, the work blends the Roman tragicomedia per musica with the grandeur of French stagecraft, helping to define the young art form of French opera.
Rossi composed Orfeo during a time of deep personal mourning after the death of his wife, Costanza, and that grief that lends the score striking emotional intensity. Unlike later, more redemptive versions of the Orpheus story, Rossi’s opera closes in shadow: shattered by loss and refusing the comforts of earthly life, Orpheus is consumed by the very forces he cannot conquer. The result is a moving reflection on love, art, and the fragility of the human spirit.
The original Paris production was an extravagant spectacle featuring Giacomo Torelli’s revolutionary stage machinery and the celebrated 24 Violons du Roi, one of Europe’s first permanent orchestras. Lasting six hours, the performance left audiences in awe. Yet after this dazzling debut, Orfeo vanished from the stage for nearly three centuries, only returning in 1982 with a revival at La Scala.
Now regarded as a milestone of the Baroque era, Rossi’s Orfeo bridges Italian and French operatic traditions while blending darkness and light, tragedy and comedy. This Australian premiere offers a rare chance to rediscover a long-lost masterpiece, performed with heartfelt sensitivity and passion in concert form.
Raphaël Pichon’s interpretation brings a fresh contemporary spark. Casting choices turn this Orfeo into something of a gender‑bending twist, with several male roles sung by women and some female roles taken by men. William Shelton’s high‑pitched performance as Eurydice’s nurse and Dominique Visse’s wry portrayal of an elderly woman add moments of wit and lightness to the otherwise sombre tale. Both Eurydice and Orpheus were sung by women: Julie Roset, and Xenia Puskarz Thomas respectively.
From his podium, Pichon conducts with electrifying energy, shaping a majestic sound from his 18 member ensemble, 20 voice choir, and 16 strong cast. His rapport with the musicians is magnetic, and at times we found ourselves focussed on him rather than on the singers on stage.
Audience members unfamiliar with early‑music instruments were treated to a fascinating visual and sonic array: the viola da gamba (a fretted string held between the legs), cornetts (curved fingerhole woodwinds with buzzing mouthpieces), sackbuts (trombone precursors with narrower bores), and the theorbos (massive lutes with gut strings and extended bass strings). These timbres, so rarely heard today, lend the performance an otherworldly texture that suits Rossi’s mythic subject perfectly.
The entire cast, choir and ensemble were perfection. Every singer brought both technical brilliance and emotional depth to their roles, creating a cohesive and heartfelt performance. The chorus blended beautifully with the instrumental ensemble, their voices adding richness and texture to Rossi’s expressive score. Together, they captured the drama and poignancy of Orfeo with sincerity and passion, making it a truly memorable experience.
Even without sets or lavish costumes, Ensemble Pygmalion used the Adelaide Town Hall to imaginative effect. Singers and choir members appeared throughout the venue, occasionally positioned in the dress circle, creating an enveloping, almost celestial sound. The result was a concert experience that felt theatrical in scope and emotional in impact.
Despite the musical excellence on stage, one unfortunate distraction marred the evening. The surtitles were malfunctioning throughout the first two Acts, sometimes lagging behind the singers, at other moments disappearing altogether. Many in the audience hoped the issue would be resolved during interval, but it only worsened in the second half. Two entire scenes from Act III went untranslated, leaving audiences struggling to follow the drama. It’s disappointing that such a technical problem, which has surfaced at several Adelaide Festival events in recent years, continues to occur.
Ensemble Pygmalion’s performance of Rossi’s Orfeo is an unforgettable fusion of scholarship and passion — a rediscovery that feels both ancient and startlingly fresh. Under Raphaël Pichon’s inspired leadership, Rossi’s long‑sleeping masterpiece shone with emotional truth, musical precision, and theatrical imagination. Even in concert form, it was a triumphant reminder of why the myth of Orpheus continues to sing through the centuries.
5 CROISSANTS
Matilda Marseillaise was a guest of Adelaide Festival
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Ensemble Pygmalion has now finished its Adelaide Festival season. Read our interview with Ensemble Pygmalion harpsichordist Pierre Gallon here: Part 1 and Part 2
For another act from France, you may be interested in seeing the incredible actress Isabelle Huppert on stage in Mary said what she said for which three performances remain: Sat 7 Mar 3pm & 8pm, and Sun 8 Mar 2pm.
Have you ever seen a performance of Rossi’s Orfeo?
