"Eurídice y Orfeo", de Antonio de Solís (Casa de Oropesa, Pamplona, 1643 – Casón del Buen Retiro, Madrid, 1655)

Abstract

Eurídice y Orfeo represents a turning point in Antonio de Solís’s work given that it was his first foray into the theatre of the royal court. Its first composition, in the viceroyalty of Navarra, commissioned by the count of Oropesa dates from 1643. In 1655, when Solís had been named the king’s playwright, alongside Calderón, he adapted it to the setting and pomp of the royal court. There is no other comedy by Solís in the period between the first and the second version discussed here, but there are a number of changes in the author’s life. These circumstances are of great interest for the study of this work since they allow us to trace the differences in the author’s writing and his perception of the piece. Eurídice y Orfeo has never been edited or studied in detail despite, in addition to those already mentioned, the peculiarities both in the treatment of the myth and Solís’ approach to the scene and musical accompaniment. With this in mind, this article presents the preliminary results of a detailed study of the piece and the critical edition that is underway. This will be done in light of its historical and political context and with special attention to its most significant theatrical aspects.