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The Performance/Musical Choreography
PROLOGUE: THE GAZE OF ORPHEUS
Morehead/Winsberg/Tobias
EPILOGUE: THE DISMEMBERMENT
Birringer/Kraft
I. DISMEMBERED: EURYIDKE IN THE OTHERWORLD
Solar Wind - Winsberg
Water Music - Tobias
II. RE-MEMBERING
Koran I - Tobias
Concrete River - Winsberg
Koran II - Tobias
Mirror Box - Morehead
III. ARIEN
Che faro senza Eurydike - Gluck
Orfeo - Monteverdi
Deconstruction - Gluck/Tobias/Winsberg/Ganz
IV. HACIENDO CARAS
Ensemble
V. ON THE BORDER
On the Border - Tobias
Spiral dance - Morehead
Without Boundaries - Winsberg/Tobias
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The opera challenges the archetypal myths of Western musical structure and the
familiar narrative of female sacrifice and redemption that underlies the history of
Western opera. The ensemble has created a provocative new look at the sexual fantasy
of redemption through the eyes and ears of Euydike (performed by 19 female artists
in a multicultural cast) as she explores women's experience as objects of male
fantasies as well as subjects of their own actions and imaginations.
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I make my way into death
To speak with my voice
To dance with my body
I did not want anything more, anything different.
Only there, at the uttermost border of my life
Can I name it to myself
There is something of everyone in me
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