The Orpheus Project weaves together three settings of the myth ranging from the 1600s-1700s reflecting the traditional themes of the Greek original and the evolution of the myth in response to society as we seek to comprehend mysteries and passions that elude us.
David Paul, director
Nate Raskin, coach
Nicolò Sbuelz, Italian coach
Jocelyn Dueck, French coach
William Woodward, Coaching Fellow
Orfeo ed Euridice by Gluck (1762)
Euridice is dead, and Orfeo is distraught. He is visited by Amore (Love) who says that he can visit the Underworld and retrieve his beloved, but he cannot look at her until they are both safe on the surface.
L’Orfeo by Monteverdi (1607)
Orfeo is at the River Styx. Caronte, the ferryman, refuses to give Orfeo passage to the underworld. Orfeo plays a song that puts the ferryman to sleep, and steals closer to his beloved.
Orfeo by Gluck (1762)
Orfeo…..Gretchen Krupp, Leia Lensing
Orfeo leads Euridice out of the Underworld, but can neither speak to nor look at her during the journey.
THE MYTH OF ORPHEUS
Orpheus loved Eurydice so deeply that when she suddenly died from a snake bite, he followed her to the Underworld.
There he sang so beautifully for the gods that he won the right to bring her back on one condition. On the return journey, Orpheus must not look back at Eurydice, but trust that she is following.
Whether prompted by his internal insecurity or mistrust, or her pain and confusion at his refusal to look at her, Orpheus turns and loses her forever.