Matthew Aucoin, composer, the two creators of a new version of Eurydice at the Metropolitan Opera. We discuss the history and meaning of this oft-adapted myth, and what drew both writers to it. We delve into their creative process and discover why Sarah chose to make some key changes to the story and characters. We also get a peek into how the two adapted Sarah’s original play into the current libretto, and how Matthew approached setting her text to music. It’s fascinating to hear about the piece’s long journey from its creation to its premiere at LA Opera with Mary Zimmerman directing, to the current remount at the Met. Both writers also have new books out, which should be on everyone’s reading list. Don’t miss this captivating conversation with two of opera’s most vital and thrilling creators.
Clip 1:
Description: Orpheus Writes to Eurydice, Orpheus and Orpheus’s Double sing an impassioned love letter to Eurydice.
Performers in Clip: Joshua Hopkins, baritone & John Holiday, countertenor, Matthew Aucoin conducts
Clip Credits: Eurydice Musical Sneak Peek - LA Opera, January 24, 2020
Peter: How was the first rehearsal at Met Opera? Is this the same production as done at LA Opera?
Matthew: It was a table sing and first staging rehearsal
Yannick Nezet-Sequin - conductor
Mary Zimmerman - director
Sarah: It is the same production with very minimal rewrites
Erin Morley performs Eurydice
Aria “This Is What It Is to Love an Artist”
Matthew: Crossing, his first opera received many rewrites because of some mistakes when creating the libretto.
Smile: The Story of a Face, published 10/5/21, Simon & Schuster, Inc.
Sarah also recorded the audiobook
Clip 2:
Description: End of Chapter One: Twins
Performers in clip: Sarah Ruhl
Clip Credits: Audio excerpt courtesy of Simon & Schuster, Inc. Copyright 2021
Walker: How did having the twins affect Sarah’s ability to write?
Sarah: She wrote in short form, like essays.
Book: 100 Essays I Don’t Have Time to Write
After the twins began kindergarten she was able to go back to writing longform works from 9am to 3pm each day.
The Impossible Art: Adventures In Opera, 12/2021 Farrar, Straus * Giroux
A book of essays about his favorite operas across the centuries
Peter: What are your future projects?
Sarah: is working on a new opera and has a musical waiting to be scheduled for production
Matthew: is in the early stages of work on a new opera, but has been writing a lot of chamber music
An orchestral suite from Eurydice
The Philadelphia Orchestra - Yannick Nezet-Seguin, conductor
Sarah: Eurydice at LA Opera was the last thing they did before the shutdown and now is the first thing they are doing after the re-opening
The piece is about grief, memory and in some ways about stasis which feels very appropriate for current times
Clip 3:
Description: Sneak Peak Collage - Eurydice by Matthew Aucoin & Sarah Ruhl
Performers in Clip: featuring Erica Petrocelli singing Eurydice and the full cast
Clip Credits: final dress rehearsal, LA Opera, January 21, 2020
Cast:
Eurydice: Danielle de Niese
Eurydice (Feb 14): Erica Petrocelli†
Eurydice’s Father: Rod Gilfry
Orpheus: Joshua Hopkins
Orpheus's Double: John Holiday
Hades: Barry Banks
Little Stone: Stacey Tappan
Big Stone: Raehann Bryce-Davis
Loud Stone: Kevin Ray*
Creative team:
Conductor: Matthew Aucoin
Director: Mary Zimmerman
Set Designer: Daniel Ostling
Costume Designer: Ana Kuzmanić
Lighting Designer: T.J. Gerckens*
Chorus Director: Grant Gershon
Choreographer: Denis Jones
Peter, Brooke & Walker discuss the production of Fire Shut Up In My Bones
Metropolitan Opera 2021-22 Season Opener
Terence Blanchard - composer
Kasi Lemmons - librettist
Based on the book by Charles M. Blow
Yannick Nezet-Seguin - conductor
James Robinson - co-director
Camille A. Brown - co-director/choreographer
Clip 4:
Description: The Fraternity Dance
Performers in clip: Will Liverman as Charles & the Male Dance Ensemble
Clip Credits: From the final dress of Fire Shut Up In My Bones, Act 3, choreography by Camille A. Brown, Metropolitan Opera 2021
Clip 5:
Description: Aria - “Leave It On the Road”
Performers in clip: Latonia Moore as Billie
Clip Credits: Opening night performance of Fire Shut Up In My Bones, Act 1, Metropolitan Opera 2021
Peter, Brooke & Walker discuss the need for trigger warnings in modern opera
Fire Shut Up In My Bones needed them for gunshots, child molestation and sexual situations
Many operas produced by Prototype Festival have included dicey subject matter.
Angels Bone, 448 Psychosis, Dog Days
Peter, Brooke & Walker discuss score/orchestration of Fire Shut Up In My Bones
Peter, Brooke & Walker discuss Matthew Aucoin’s essay about The Marriage of Figaro from his new book The Impossible Art: Adventures In Opera
LINKS OF INTEREST:
www.sarahruhlplaywright.comwww.metopera.org/season/2021-22-season/eurydice/ matthewaucoin.com/
Category :
ALLONE
#podcast#83#sarah#ruhl#matthew#aucoin#eurydice
