Ópera de Tenerife Kicks Off Season with 21st-Century *Orfeo ed Euridice*

Ópera de Tenerife is kicking off its 2025-2026 season this week with a new production. On Thursday and Friday at 7:30 PM, they will present Christoph Willibald Gluck's Orfeo ed Euridice (first performed in Vienna in 1762) at the Auditorio de Tenerife. This in-house production features musical direction by Jordi Francés, leading the Concerto München ensemble, and stage direction by Mal Pelo, the dance company founded in 1989 by Pep Ramis and María Muñoz. The cast includes soloists Teresa Iervolino (mezzo-soprano), Ana Vieira Leite, and Mira Alkhovik (sopranos), supported by the Ópera de Tenerife-Intermezzo Resident Choir, directed by Miguel Ángel Arqued.

In this interview, Alicante-born conductor Jordi Francés discusses key aspects of Gluck's opera, particularly the challenge of bringing a Baroque work – a musical language from over 250 years ago – into the 21st century. He suggests that true rigor in this process isn't about perfectly replicating the original, but rather about staying true to an idea of beauty.

An 18th-century opera, inspired by mythology, for a 21st-century audience. What has been the greatest challenge in bringing Gluck's scores to the stage?

“Making the right decisions to build the foundation of the interpretation. That initial work is like an archaeological dig: approaching a score from over two centuries ago and figuring out the best way to translate its language for a modern audience. While we decided early on to use a Baroque orchestra for this production, it wasn't to recreate historical conditions. Instead, it was an aesthetic choice, as we believe the sound, articulation, and phrasing of this type of orchestra offer the best way to interpret this music. Ultimately, we chose it not to reproduce history, but because we're convinced it's the best way to present this music to a contemporary audience.”

Is there room for freedom when staging an opera, especially when considering rigor or fidelity to the scores?

“Rigor and fidelity are certainly things we – or I, at least – keep very much in mind. But to find good answers, you first need good questions. The question is: fidelity to what? To a historical code that meant one thing then and something else now? Or to an idea, to the interpretation of an idea, to the very idea of beauty? Sometimes these paths align, but other times they diverge. So, yes, rigor and fidelity are important, but we must consider what we are being rigorous or faithful to.”

“I'm very interested in popular approaches to attract new audiences, but not populist ones.”

A definition of classics suggests they are works from the past that still have much to tell us about the contemporary era. In this case, what does Orfeo ed Euridice tell today's audience?

“Orfeo ed Euridice is an internal journey into the soul of someone who has lost their beloved. His despair drives him on a journey towards redemption, symbolized by his quest to bring his beloved back, guided by the character Amor… Today, we can see it as a poetic exploration of Orpheus's inner world.”

How is the work progressing with the musicians, singers, and choir? What aspects would you say they are emphasizing most?

“We've focused on establishing guidelines for singing with emotion. Gluck and librettist Raniero di Calzabigi aimed to revolutionize how opera was understood at the time. In operas from decades before Orfeo ed Euridice, like those by Handel, the story moved forward through recitatives with a continuo, and arias where singers showcased their vocal virtuosity. However, Gluck's opera introduced many changes, primarily a new way of singing. It moved away from dazzling virtuosity towards emotional honesty. The vocal lines are more austere but incredibly powerful and emotionally profound. This philosophy has guided the foundation of our interpretation. It's been fascinating work; the singers already embraced these ideas, making the process very enriching and fluid.”

“Today, we can see this opera as a poetic exploration of Orpheus's inner world.”

If one looks at your biography, symphonic music, opera, and contemporary creation converge in it. Is the way of working very different in each of these areas, or do some constants always prevail?

“Perhaps the only constant is thorough work and the desire to connect the musical narrative with the audience. But these are three distinct musical universes, each with its own logic and approach. In opera, I'm lucky to work with very different styles, from 18th-century works like this to many contemporary opera premieres I've conducted. I also feel fortunate in contemporary music, having very productive relationships with some of today's great composers. I've been part of experiences that have transcended and enriched the listening experience for many music lovers, projects that push the boundaries of what's possible. Then there's the symphonic world, which I explore through my collaborations with ensembles both in Spain and abroad, like the Spanish National Orchestra. All these experiences have helped me grow as a musician and allowed me to explore repertoires I admire.”

You have participated in the absolute premiere of over 150 works. What must a contemporary piece have for you to decide to get involved in bringing it to the stage for the first time?

“It must aim to express an interesting idea. And it should do so in a way that, ideally, opens a window for fresh air to enter the listener's sensibility.”

One aspect of your musical vocation is pedagogical, related to teaching young performers. What is the main lesson you try to convey to them, and what do you learn from them?

“I learn countless things every day. One thing I try to teach young performers is the importance of openness and depth: guiding them to delve into and immerse themselves in any musical language or aesthetic, from any era.”

“When I get involved in a contemporary piece, I look for it to bring fresh air to the listener's sensibility.”

One of the issues always present in the world of academic music is attracting new audiences. In your opinion, what is being done well, and what should be improved?

“Many things are being done well. Attracting new audiences is a constant topic, but it's true that some very interesting goals have been achieved. Perhaps what could be improved is how classical music is communicated, specifically avoiding the 'infantilization' of the discourse. I fully support, and even participate in, projects that present music in a simple and accessible way for all audiences. For example, I recently gave a short talk for Ópera de Tenerife subscribers, which I think is a great initiative. However, I don't believe new audiences are attracted by 'dumbing down' the content. I'm very interested in popular outreach, but not in populist approaches.”