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Mezzo-soprano Sharon Carty has the lead role. I happened to be directly on front of Carty throughout and I can still remember the passion in her performance and her ability to act the role, beyond the words and music. Carty is slumped in her chair, wearing a suit and tie, her face full of torment. Every now and then she tries to move forward but the grief in her body has her fall back.

Almost throughout, the dancers surround and engage with the three main singers and chorus, reacting to their words and the drama, playing a foreground and background role at various times. Their responses to the music could be very detailed, jerking precisely with a particular phrase, or more dramatic, pushing and pulling Orfeo as she stresses over her dilemma.

Carty creatively maintains her tortured pose throughout, every note she sings, with clarity and pathos, adding to our pity for the character. Baroque Highlights. Classic Care. Classical Rockies. Classical Seasons. Flute for Relaxation. Guiomar Novaes; Otto Klemperer. Mommy and Me: Sleepytime Strings. Music for Inspiration. Pachelbel Canon: Baroque Favorites. Romantic Music for Flute and Harp. Sweet Dreams: Baby's First Classics. Top 10 of Classical Music. Weekday Soother. A Window in Time. Best of the Classics.

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Review: ASO and David Daniels nail live recording of “Orfeo” despite onstage distractions

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Quiet Moods. Romancing the Violin. Act III, Scene 1, in which Orpheus and Euridice are on the exit route from hell, is a diagonal tunnel carved through a glittering black rock face. For both characters this is the most important scene. Moyer makes them visible only from the waist up. View all New York Times newsletters. Morris is not so much telling a story as delivering a message, which — since each dancer exchanges black, white and colorful versions of the same costume — is surely about ways of seeing the world.

Orfeo ed Euridice - Dance - Review - The New York Times

The focal point is mainly David Daniels as Orfeo. This modern, bipolar, self-absorbed, history-conscious artist paints the world black when things go wrong; then escapes to a pure world where all is white; and needs real help to be shown that life is a kaleidoscope. As in his production, Mr. In Mr. Now he runs it unbroken: it lasts some 90 minutes. Admirably, it often happens in a Morris production that the best feature is the music.

That is so again here. But the next-best feature, as in the staging, is the almost constant involvement of the Mark Morris Dance Group. At least three of these dancers were in the earlier version.

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I think, too, that Mr. Morris employs a few of the same choreographic motifs as before. There are times, especially in Act I, when his staging seems like an unintegrated collage of gestural motifs.