Chamber Opera | Soprano, Alto, Tenor, Clarinet, Paino, Viola, Cello



Eurydice is a one act chamber opera based on the myth of Orpheus and Eurydice and retold through the perspective of Eurydice. The idea for this concept came from the feminist telling of the myth in the play Eurydice, by Sarah Ruhl. While writing this piece I was influenced by a wide range of eclectic sources including Sunday in the Park with George by Stephen Sondheim, Rossini’s The Barber of Seville, Peter Grimes by Benjamin Britten, Lohengrin by Wagner, Arnold Schoenberg, and ancient Greek wedding traditions. Each of the three vocalists are wearing specific colors to represent their character. Eurydice is wearing red/maroon, the traditional color of ancient Greek Wedding dress. Orpheus is wearing light purple/lilac, the color compliments and the shade of the color contrasts with Eurydice The Satyr/Persephone is wearing light blue/teal because those colors can be used to represents the dead of winter and the newness of spring. The way that one color represents two ideas also represents the duality of her character. In the mortal realm she is the Satyr, but in the Underworld she is Persephone.


Orpheus and Eurydice are newly married. We see them getting married and exchange vows, as the Satyr officiates. The following day Eurydice is walking in the forest, and a Satyr starts to follow her. While the Satyr is following Eurydice, she steps on a viper and dies. The Satyr develops conflicting feelings surrounding her death because he was just curious as to who she was, and did not want to cause her harm. Orpheus, who learns of her death, laments. While he is lamenting, Eurydice, in the underworld, also laments. Orpheus then decides to go down to the underworld to bring her back. Eurydice, while in the underworld, runs into Persephone and come to the realization that she is content with her death. When Orpheus rescues her by persuading Persephone to release Eurydice, she then decides to go with him to appease him. However, Persephone has one condition, Orpheus cannot look at Eurydice until they are out of the underworld. On the way back to the mortal world, Eurydice cries out to get Orpheus to look at her because she is content with her death and feels that she now belongs in the underworld. In response, Orpheus turns back to look at her and she is sent back to the underworld.


The composer would like to thank Megan Johnson, Sierra Mullins, Caroline Basso, Beverly Bielenberg, Richard Gomez, and Ollie Berg for help with the performance pf Eurydice


Eurydice: Soprano

Satyr/Persephone: Alto

Orpheus: Tenor