Dmitri Kourliandski, Eurydice
In his opera for solo voice and electronics, augmented by an oversimplified piano, Dmitri Kourliandski plunges us into the solitude of Eurydice, surrounded by voices whose distortions are imagined to be caused by the distance separating it from the world of the living…
From Eurydice, we know that she was bitten by a snake and that Orpheus tried to save her by bringing her back from hell. The story continues in the familiar way: not being able to resists turning back, Orpheus loses Eurydice definitively. From Eurydice, we also know that this is the first opera in history that has come down to us. That of Jacopo Peri, which was premiered in 1600 (seven years before Monteverdi’s Orfeo), and that composers have taken hold of the myth a countless number of times.
The long poem by Nastya Rodionova on which the piece is composed, divided into seven arias, is an intimate introspection, a plunge into a hauntingly graphic electronic environment. An experience of the dark.
We imagine the spectator/listener immersed in the center of these sound hallucinations, facing a ritual where the body and the voice of Eurydice look for each other, dissociated or reunited, facing a memory of Orpheus that is entrusted to Dominique Mercy.
- Composer(s) Dmitry Kourliandski
-
Title(s) of the Work(s)
Eurydice, une expérience du noir
- Performer, Ensemble or Orchestra Poème: Nastya Rodionova Mise en scène: Antoine Gindt Avec Dominique Mercy (Orphée), Anne-Emmanuelle Davy (Eurydice), Bianca Chillemi (Piano)
