Orpheus, son of the god Apollo and the muse Calliope, a demigod with the power to play intensely emotional and beautiful music, has been a wide source of inspiration for many composers and librettists and writers through the ages. In this comparison, Orfeo serves as a paradigm in the construction of opera, particularly since Monteverdi's time, and how the art form has changed radically between then and Glück's time. The orchestration, musical structure and evolving characteristics of the work will be discussed, focusing on an important piece of each work that will be directly compared. The topic of each composer's success in achieving their goals in the artistic form, despite having highly revered and criticized works, will be analyzed through the performance of the recitative “Possente Spirto” from Monteverdi's Orfeo and the aria “Che faro senza Euridice ” from Orpheus and Eurydice by Glück. The Atlanta Opera Guide (2009: 12) explains that the myth of Orpheus begins with him marrying his lover, a nymph named Eurydice, and soon afterward she is killed by a fatal snake bite. Distraught, Orpheus went to the underworld and, singing the saddest songs and playing beautiful music on his lyre, Hades and Persephone, deities of the underworld, allowed him to enter the underworld to find Eurydice, on condition that he did not look at her. until they leave the underworld. Orpheus looked at Eurydice, in an attempt to console her and to make sure that Hades was not deceiving him, and she was kept in the Underworld forever. Orpheus begged for a second chance, which was denied him, and in his grief he played some of the saddest music. The Thracian maidens, who had attempted to seduce him and had failed, became so disgusted...... middle of paper ......and I will do without Eurydice” and throughout his work, in which he focuses more on the simple beauty in the melodic vocal line and a clear relationship between recitatives and arias in the structure of his work. Having appreciated and studied both operas it can be stated that between the time of Monteverdi and Glück, the innovations of the Opera are evident. The growth and development of opera over 150 years between the early Baroque period and the era of opera reform give way to the characteristics of each different era. The two works are model examples of how one aspect of music's development over the centuries can change, highlighting the continuous evolution of music. The myth of Orpheus has a strong correlation with the concept of opera in general: it leaves a lasting impression on a wide range of audiences and ultimately shows the power of music.