    {"id":63128,"date":"2021-11-17T15:57:26","date_gmt":"2021-11-17T15:57:26","guid":{"rendered":"https:\/\/www.ccb.pt\/evento\/a-proposito-de-orfeu\/"},"modified":"2021-11-24T17:34:12","modified_gmt":"2021-11-24T17:34:12","slug":"a-proposito-de-orfeu","status":"publish","type":"tribe_events","link":"https:\/\/www.ccb.pt\/en\/evento\/a-proposito-de-orfeu\/","title":{"rendered":"<i>About Orpheus<\/i>"},"content":{"rendered":"<p>Orpheus, the Greek god who tamed wild beasts with his singing, has had various glorious apparitions in the History of Music. First of all, we will have the comical register of the myth, with the overture to <em>Orpheus in the Underworld<\/em>, Jacques Offenbach\u2019s comic opera, which became famous for its \u00abInfernal Gallop\u00bb, and in which we can hear the most inebriating can-can in the universe.<\/p>\n<p>Next, a symphonic poem by Liszt, written in 1854 as a tribute to Gluck\u2019s opera <em>Orpheus and Eurydice.<\/em> Here, the comic element is more diluted, since Liszt saw in Orpheus the symbol of the creative force of Art, and of Music in particular.<\/p>\n<p>We end with a work by Philip Glass, written in 2010, which immediately directs our attention to Brahms\u2019 famous <em>Double Concerto<\/em>. Glass experimented on several occasions with the concerto for various soloists and orchestra, but this work, which was the result of a commission from the Nederlands Dans Theater, was originally composed as the music for a ballet entitled <em>Swan Song<\/em>. The composer gave the violin and cello a dramatic importance that is comparable to that of the dancers.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Orpheus, the Greek god who tamed wild beasts with his singing, has had various glorious apparitions in the History of Music. First of all, we will have the comical register of the myth, with the overture to Orpheus in the Underworld, Jacques Offenbach\u2019s comic opera, which became famous for its \u00abInfernal Gallop\u00bb, and in which [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":63122,"comment_status":"open","ping_status":"closed","template":"","meta":{"_relevanssi_hide_post":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":""},"tribe_events_cat":[23],"tags_tema":[],"idades":[392],"tipos":[],"temas":[],"categorias_hubspot":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>About Orpheus - Centro Cultural de Bel\u00e9m Foundation<\/title>\n<meta name=\"description\" content=\"Orpheus, the Greek god who tamed wild beasts with his singing, has had various glorious apparitions in the History of Music. First of all, we will have the comical register of the myth, with the overture to Orpheus in the Underworld, Jacques Offenbach\u2019s comic opera, which became famous for its \u00abInfernal Gallop\u00bb, and in which we can hear the most inebriating can-can in the universe.Next, a symphonic poem by Liszt, written in 1854 as a tribute to Gluck\u2019s opera Orpheus and Eurydice. Here, the comic element is more diluted, since Liszt saw in Orpheus the symbol of the creative force of Art, and of Music in particular.We end with a work by Philip Glass, written in 2010, which immediately directs our attention to Brahms\u2019 famous Double Concerto. Glass experimented on several occasions with the concerto for various soloists and orchestra, but this work, which was the result of a commission from the Nederlands Dans Theater, was originally composed as the music for a ballet entitled Swan Song. The composer gave the violin and cello a dramatic importance that is comparable to that of the dancers.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ccb.pt\/en\/evento\/a-proposito-de-orfeu\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"About Orpheus - Centro Cultural de Bel\u00e9m Foundation\" \/>\n<meta property=\"og:description\" content=\"Orpheus, the Greek god who tamed wild beasts with his singing, has had various glorious apparitions in the History of Music. First of all, we will have the comical register of the myth, with the overture to Orpheus in the Underworld, Jacques Offenbach\u2019s comic opera, which became famous for its \u00abInfernal Gallop\u00bb, and in which we can hear the most inebriating can-can in the universe.Next, a symphonic poem by Liszt, written in 1854 as a tribute to Gluck\u2019s opera Orpheus and Eurydice. Here, the comic element is more diluted, since Liszt saw in Orpheus the symbol of the creative force of Art, and of Music in particular.We end with a work by Philip Glass, written in 2010, which immediately directs our attention to Brahms\u2019 famous Double Concerto. Glass experimented on several occasions with the concerto for various soloists and orchestra, but this work, which was the result of a commission from the Nederlands Dans Theater, was originally composed as the music for a ballet entitled Swan Song. 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