Eurydice

Music by Matthew Aucoin
Libretto by Sarah Ruhl
Based on the play by Sarah Ruhl

A new arrangement commissioned by
Boston Lyric Opera and Opera Grand Rapids

Original Orchestration Commissioned by The Metropolitan Opera and Los Angeles Opera. Developed by The Metropolitan Opera/Lincoln Center Theater New Works Program with support from the Opera America Repertory Development Grant.

By arrangement with Associated Music Publishers, Inc./G. Schirmer, Inc.,
Publisher and copyright owner

The Huntington Theatre
Friday, March 1, 2024 | 7:30PM
Sunday, March 3, 2024 | 3PM
Wednesday, March 6, 2024 | 7:30PM
Friday, March 8, 2024 | 7:30PM
Sunday, March 10, 2024 | 3PM

Sung in English dialogue with English surtitles
Running time: 2 hours and 20 minutes, including one 20-minute intermission

POST-SHOW TALKBACKS
Stay after curtain and join us for a post-show talkback, with different guest moderators, members of the cast, orchestra, and creative team for each performance!
In a vivid retelling of the Orpheus myth from his bride’s perspective, composer Matthew Aucoin and librettist Sarah Ruhl’s stunning opera Eurydice follows the titular character as she travels to the underworld on her wedding day. Boston Lyric Opera, together with Opera Grand Rapids, has co-commissioned a new,  intimate orchestral arrangement from Aucoin, acclaimed composer and MacArthur Fellow, and Ruhl, Tony and Pulitzer Prize-nominated playwright. This compelling new production, conducted by the composer and directed by Doug Fitch, delves into the profound bonds of family and love – between parents and children, between husband and wife. Eurydice is a resonant story of love’s beauty and brutality – and the power of music to find us in the dark.

The commission of Eurydice is supported in part by a gift from Pat and Bill O’Connor.

Matthew Aucoin’s residency has been made possible by Katie and Paul Buttenwieser.

 

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Matthew Aucoin

Composer / Conductor

Douglas Fitch

Stage Director, Set and Costume Designer

Jorge Arroyo

Lighting Designer

Liz Printz

Wig and Makeup Designer

Lauren A. Cook

Intimacy Director

Nile Hawver

Fight Director

Sarah Ruhl

Librettist

Benjamin Perry Wenzelberg

Assistant Conductor

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Sydney Mancasola

Eurydice

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Elliot Madore

Orpheus

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Mark S. Doss

Father

Nicholas Kelliher

Orpheus Double

David Portillo

Hades

Maggie Finnegan

Little Stone / Ensemble

Alexis Peart

Big Stone / Ensemble

Neal Ferreira

Loud Stone / Ensemble

Junhan Choi

Ensemble

Vera Savage

Big Stone / Ensemble Cover

Vera Savage will be performing the role of Big Stone/Ensemble for March 8 & 10 performances.

Act One

We meet two lovers, Orpheus and Eurydice, on a beach. They’re young and helplessly, deeply in love. However, Eurydice is frustrated that Orpheus’s mind always seems to be elsewhere: he hears music in his head, represented by a spirit double or Daemon, invisible to Eurydice. Orpheus proposes by playfully tying string around Eurydice’s ring finger. She says yes.

In the Underworld, Eurydice’s father—who has recently died—writes her a letter, offering fatherly advice for her wedding day. He laments that he doesn’t know how to get his letters to her.

At their wedding, Orpheus and Eurydice dance. Eurydice finds the party overwhelming. She says she’s feeling warm, and steps outside to find a drink of water. Alone outside, Eurydice realizes how much she misses her father. At that moment, a mysterious man appears, claiming that he has a letter from her father, but that she must follow him to his penthouse apartment to retrieve it.

At his apartment, the man gives Eurydice champagne and puts on terrible mood music. He does not give her the letter. Eurydice realizes she’s made a terrible mistake and turns to leave. The man reveals the letter. Eurydice recognizes her father’s handwriting. She tries to grab the letter and run away, but she trips. She falls down hundreds of stairs, into the Underworld, to her death.

Act Two

In the Underworld, we meet three Stones (Little Stone, Big Stone, and Loud Stone), obnoxious bureaucratic guardians of the land of the dead, who serve as a kind of Greek chorus. They explain that Eurydice has died, and that, as a dead person, she will lose her memory and the power of language.

Eurydice arrives in the Underworld in a raining elevator. When she is doused with the waters of this alternate Lethe, she loses her memory. When she steps out of the elevator, her father greets her. Eurydice has no idea who he is. Her father tries to make her comfortable.

In the world above, Orpheus mourns Eurydice’s death. He writes her a letter, but does not know how to get it to her.

In the Underworld, the Father builds a room out of string for Eurydice. A letter falls from the sky. The Father reads it and tells Eurydice it is from Orpheus. The name “Orpheus” triggers something in Eurydice, and she begins to remember who she is. She finally recognizes her father.

Orpheus slowly lowers the collected works of Shakespeare into the underworld on a string. The Father reads to Eurydice from King Lear. Eurydice begins to learn language again, word by word.

Orpheus resolves to find a way to get to the Underworld and bring Eurydice back.

In the Underworld, the Stones hear Orpheus singing wordlessly as he approaches the gates. Distressed, the Stones call their boss, Hades. When he appears, it is revealed that he was also the man who lured Eurydice to her death.

Intermission

Act Three

Orpheus and his Daemon sing at the gates of the Underworld, pleading to be let in. Hades appears and dismissively informs him of the rules for bringing Eurydice back to the world above. She can follow him, but he must not look back to make sure she is there.

Eurydice is torn between following Orpheus and staying with her father. Her father insists that she follow Orpheus and live out her life in the world above.

When she sees Orpheus up ahead, Eurydice is afraid, not convinced that it’s really him. She follows, but eventually rushes toward him and calls his name. Orpheus turns around, startled. The lovers are slowly, helplessly pulled apart.

The Father is desolate that Eurydice is gone. In despair, he decides to dip himself in the river of forgetfulness and obliterate his memory. He quietly speaks the directions to his childhood home and lowers himself into the water.

Eurydice returns to the Underworld and finds, to her horror, that her father has dipped himself in the river. Hades reappears to claim her as his bride. She asks for a moment to prepare herself.

She finds a pen in her father’s coat pocket and writes a letter to Orpheus, with instructions for his future wife on how to take care of him. She dips herself in the river of forgetfulness.

The elevator descends once again. In it is Orpheus. He sees Eurydice lying on the ground. He recognizes her and is happy. But the elevator rains on Orpheus, obliterating his memory. He steps out of the elevator. He finds the letter Eurydice wrote to him. He does not know how to read it, and his music has deserted him. We end in silence.

The Huntington Theatre

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The Huntington Theatre

“BLO’s performance was excellent, as was its production [with] impressive moments [both] visual and musical! The production design was superb.”
– The Boston Globe
March 3, 2024

“Touching…Aucoin’s score [is] deft, energetic, colorful, and wonderfully fluent…with fresh instrumentation vividly dispatched by the BLO orchestra.”
– Boston Classical Review
March 2, 2024

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“All I have, I give for love” comes from Sarah Ruhl’s libretto for Eurydice, the opera composed by Matthew Aucoin, a chamber orchestra version co-commission appearing in Boston Lyric Opera’s 2023-24 Season. 

Originally commissioned by The Metropolitan Opera and Los Angeles Opera. This chamber orchestra version commissioned by Boston Lyric Opera and Opera Grand Rapids.