MET22: EURYDICE 183 mins

  • MET22: EURYDICE
  • MET22: EURYDICE
  • MET22: EURYDICE
  • MET22: EURYDICE
  • MET22: EURYDICE

Screening Sat 19 Feb - Sun 20 Feb at:

Luna Leederville session times.   BOOK TICKETS

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Saturday, 19 February
11:00AM 
Sunday, 20 February
11:00AM 

Luna On SX session times.   BOOK TICKETS

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Saturday, 19 February
1:00PM 
Sunday, 20 February
1:00PM 

The ancient Greek myth of Orpheus, who attempts to harness the power of music to rescue his beloved Eurydice from the underworld, has inspired composers since opera’s earliest days.

“An arresting tour de force” –The Washington Post

In his bewitching new opera, brilliant American composer Matthew Aucoin offers a contemporary take on the age-old myth of Orpheus, who attempts to harness the power of music to rescue his beloved Eurydice from the Underworld. Hailed as “expertly wrought, finely produced, and performed with genuine show-biz verve ... dazzling” by New York Magazine, the opera stars soprano Erin Morley in the title role, opposite baritone Joshua Hopkins as Orpheus and countertenor Jakub Józef Orliński as his otherworldly alter ego.  Music Director Yannick Nézet-Séguin is on the podium leading Aucoin’s evocative music and an immersive new staging by Mary Zimmerman.

With a libretto by MacArthur “Genius Grant” recipient Sarah Ruhl adapted from her acclaimed 2003 play, the opera reimagines the familiar tale from Eurydice’s point of view. 

“Expertly wrought, finely produced, and performed with genuine show-biz verve … A composer with vocal music in his bones. Aucoin’s command of the genre is dazzling … For a good time, knock at the gates of Hell.” —Vulture / New York magazine 

“A beguiling tour of the underworld and an arresting tour de force … Soprano Erin Morley was superb … Her voice is lithe, lean and luminous … Eurydice gives us much to look forward to.” —The Washington Post 

“Matthew Aucoin is a musical intellect of staggering facility … A font of musical ideas … It’s enjoyable to hear the Met Orchestra tackle the brilliant score under Yannick Nézet-Séguin’s leadership. Morley sings Eurydice beautifully, with lovely high notes, and Joshua Hopkins is a vigorous Orpheus.” —Financial Times 

“Tackles one of opera’s foundational stories and finds something new to say about it …. Morley’s vibrant soprano encompassed Eurydice’s naiveté, playfulness and growing understanding … Nézet-Séguin artfully made the score’s percussive extremes expressive.” —The Wall Street Journal 


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