When opera first emerged around the late 16th century, composers and librettists took a special interest in the Orpheus and Eurydice myth. It became the subject of the very first opera, “L’Orfeo,” by Claudio Monteverdi. Since then, composers such as Jacopo Peri and Christoph Willibald Gluck created operas around the mythological figure of Orpheus, an embodiment of music itself, and thus a perfect vehicle for this new art form—sung drama.
Franz Joseph Haydn’s (1732–1809) take on the Orpheus myth was his last opera: “The Soul of the Philosopher, or Orpheus and Eurydice” (“L’anima del Filosofo, ossia Orfeo ed Euridice”), a dramatic opera in four acts (an “opera seria,” a serious opera), with an Italian libretto by Carlo Francesco Badini.
Not in His Lifetime
Along with Mozart, Haydn was one of the most in-demand composers of the Baroque era. Since the 1780s, English impresarios tried to attract the famous composer to their country. Johann Peter Salomon finally succeeded in 1791, when he brought Haydn to London following the death of the composer’s Hungarian patron, Prince Nikolaus Esterhazy. There, Haydn composed several symphonies, and “The Soul of the Philosopher” opera for the reopening of the King’s Theatre.The composer’s arrival was highly anticipated and celebrated by the English public, and the press even nicknamed him the “Orpheus of his age.” In those days, people were fascinated with the Orpheus figure. Haydn himself loved Gluck’s “Orpheus and Eurydice,” so it was only natural for him to compose his interpretation of the myth of Orpheus.
Haydn’s opera was never performed during his lifetime, as the King’s Theatre lacked a license from the king and parliament to stage Italian opera. Haydn continued working on what he called his “Orfeo for England,” but the opera would see the light of day only in the 20th century, when various available scores from multiple European libraries were assembled.
The opera was first performed in 1951, at the Teatro della Pergola in Florence, Italy, and the role of Eurydice sung by none other than Maria Callas. In 1967, the opera saw its first British staging in Edinburgh, Scotland, featuring Dame Joan Sutherland. Since then, the opera has been recorded and performed many times.
Classical Vision
With “The Soul of the Philosopher,” Haydn presented a new vision of the myth by adhering closely to the original story and the classical tradition.Haydn took direct inspiration from Ovid’s “Metamorphoses” (A.D. 8). “The Soul of the Philosopher” begins with Eurydice alone in a forest. She is distraught, as she loves the musician Orpheus but her father, Creon, has betrothed her to the beekeeper Aristaeus. The chorus, in the model of Greek tragedy, advises Eurydice to leave the forest as wild shepherds appear, wanting to sacrifice her to the Furies. Orpheus saves her, charming the shepherds with his music, and the chorus praises the victory of art over barbarity.
Believing that Fate has intervened, Creon lets the young couple marry. However, as they celebrate their union, Orpheus hears a suspicious sound and leaves Eurydice alone, where she is pursued by followers of Aristaeus. As she attempts to flee, a snake bites and kills her.
In Act 3, Orpheus seeks the counsel of the Sibyl, a famous oracle in classical mythological literature. She advises him to remain calm, and they both travel to the underworld. Pluto (the god of the underworld) grants Orpheus access to the underworld and allows him to take Eurydice back to the earth above, as he is charmed by his musical talents and touched by his love.
However, Orpheus is not allowed to look at his beloved until they reach the world above. Sadly, he looks back at Eurydice and thus loses her forever. The Sibyl abandons him, and as he weeps, a group of Bacchantes (followers of Bacchus, god of wine and pleasure) approach. They try to entice him to forego sorrow and seek pleasure, but he refuses. The Bacchantes force Orpheus to drink a poisoned beverage and he dies. As the Bacchantes leave, a storm erupts and they drown.
While Haydn’s version is not as romantic as other operatic versions, it is the one that conforms the most to the classical myth. “The Soul of the Philosopher” treads darker paths, where questions are raised and not necessarily answered, and dramatic events unfold, over which the protagonists have very little control.
Complex Drama
“The Soul of the Philosopher” portrays the internal struggle of the philosopher between reason and passion, with an emphasis on the spiritual and the personal.Although betrothed to Aristaeus, a man of industry (in myth, also a minor deity), Eurydice loves Orpheus, a man of art. Sadly, she is hurt by Orpheus, who appears to be drawn more to music than to her. But when Orpheus, who could tame beasts and men with his music, loses Eurydice, neither art nor philosophy can console him.
Today, “The Soul of the Philosopher” is mostly remembered for its beautiful score rather than its libretto. The arias are some of the most beautiful pieces that Haydn composed for the voice, with richly ornamented coloratura sections. A notable example is Eurydice’s death aria: “All my longing” (“Del mio core”). The choral writing, accompanied by a large orchestra, is equally powerful, reminiscent of the chorus in Mozart’s “The Magic Flute.”
Even if it was never performed in his lifetime, Haydn included the opera in his list of works, as his way of saying that his retelling of the Orpheus myth was worthy of his brilliant career. Some critics lament a lack of theatrical quality in Haydn’s operatic repertoire, but “The Soul of the Philosopher” stands out as an exception with its incredible drama, complemented by glorious music.
