perceptible, though the composer had as yet not mastered the means for
its attainment. But in 1762 came 'Orfeo ed Euridice,' a work which
placed Gluck at the head of all living operatic composers, and laid the
foundation of the modern school of opera.

The libretto of 'Orfeo' was by Calzabigi, a prominent man of letters,
but it seems probable that Gluck's own share in it was not a small one.
The careful study which he had given to the proper conditions of opera
was not likely to exclude so important a question as that of the
construction and diction of the libretto, and the poem of 'Orfeo' shows
so marked an inclination to break away from the conventionality and sham
sentiment of the time that we can confidently attribute much of its
originality to the influence of the composer himself. The opening scene
shows the tomb of Eurydice erected in a grassy valley. Orpheus stands
beside it plunged in the deepest grief, while a troop of shepherds and
maidens bring flowers to adorn it. His despairing cry of 'Eurydice'
breaks passionately upon their mournful chorus, and the whole scene,
though drawn in simple lines, is instinct with genuine pathos. When the
rustic mourners have laid their gifts upon the tomb and departed,
Orpheus calls upon the shade of his lost wife in an air of exquisite
beauty, broken by expressive recitative. He declares his resolution of
following her to the underworld, when Eros enters and tells him of the
condition which the gods impose on him if he should attempt to rescue
Eurydice from the shades. Left to himself, Orpheus discusses the
question of the rescue in a recitative of great intrinsic power, which
shows at a glance how far Gluck had already distanced his predecessors
in variety and dramatic strength. The second act takes place in the
underworld. The chorus of Furies is both picturesque and effective, and
the barking of Cerberus which sounds through it is a touch, which though
its _naïveté_ may provoke a smile, is characteristic of Gluck's