By then, the Met, along with the Los Angeles Opera, had commissioned Aucoin to compose Eurydice, his second full-length opera with a libretto by Sarah Ruhl adapted from her 2003 play of the same name. Since then, dozens of works have been written about his story the most famous being Gluck’s revolutionary “reform” opera Orfeo ed Euridice.Īucoin’s long connection to Orpheus first reached New York audiences in 2017 when his lush short vocal work “ The Orphic Moment ” was interpolated into a staging by MasterVoices of Gluck’s Orfeo. Inevitably the tragic tale of Orpheus was the subject of several of the very first operas, including Monteverdi’s 1607 La Favola d’Orfeo, the art form’s first masterpiece. Unfortunately, Orpheus succumbed to the temptation to once again see his beloved, and she was immediately returned forever to the Underworld. So potent was his singing and lyre-playing that Hades was convinced to allow her to return with her husband on the condition that he not look back at her until they had reached the land of the living. Revered as an unrivaled musician, Orpheus ventured to the Underworld to reclaim his wife Eurydice after she died from a snakebite. On opening night in September Terence Blanchard’s Fire Shut Up in My Bones proved a rousing critical and popular success, and last Tuesday Music Director Yannick Nézet-Séguin returned to the podium for the house premiere of Matthew Aucoin’s Eurydice, an ambitious, puzzling attempt to reimagine a Greek myth that has enthralled creative artists for centuries. Three of the company’s new productions this season feature works first performed within the past five years. Since Peter Gelb took over in 2006, the Metropolitan Opera has, for the first time in many decades, been regularly presenting contemporary operas.
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