Flórez burns up the stage, vocally, and dramatically. His voice is Orphic: supple, strong, many-hued and profoundly expressive; his inner turmoil is gripping. Choreographer Hofesh Shechter is a poet himself…Despite its inferior set and costumes, this Orphée et Eurydice combines voice, dance and instruments brilliants, and in ways that only a DVD can capture.

I observe in Flórez’s Milan Orphée a degree of development since 2015 that deserves celebrating all on its own: one might now almost call it a display of total absorption in the music and the words…this Orphée [is] a true hero, not the moping misery he can sometimes seem to be. [Mariotti] gets the music to flow: in the unfolding of the Heavenly Fields there’s a relaxed radiance and an unforced beauty of orchestral playing and choral singing that carry their own considerable reward.

Christiane Karg is an eloquent and tragic Euridice, Fatma Said a sparkling Amor. Michele Mariotti leads a crisp and bright modern instrument performance.