![]() ![]() And the drama, which sometimes felt static, could have benefited from the presence of witnesses onstage. ![]() The choral writing added pungency to the score. Aucoin, keeps the chorus backstage in an effort to focus on the main characters. Aucoin’s music for them is aptly snide and harmonically slippery.Ī chorus of nearly 40 voices provides harmonic plushness and ethereal sounds during crucial episodes. ![]() (No one gets hurt that way.) As they trade phrases and boisterously overlap, Mr. Like an irreverent Greek chorus, they laugh at human pretensions and encourage people to feel nothing. The emotions of the characters are poked at throughout by a trio of bizarre figures: Little Stone (Stacey Tappan), Big Stone (Raehann Bryce-Davis) and Loud Stone (Kevin Ray). She mistakes her beloved father for a porter. In a heartbreaking moment, the dead Eurydice arrives, holding an umbrella that has not protected her from the waters. Eurydice’s father has secretly kept possession of a pen - forbidden below - and his English. The darkest element of the play and opera is how the underworld is depicted: The dead pass through a river of forgetfulness, where they lose their memories, and even language. She was riveting - a young woman tortured with indecision - as she went off with Hades then tumbled into the underworld. de Niese, though strained at times, sang with fullness and richly expressive shadings. He takes this to arresting extremes with Hades: Groups of instruments buttress, enclose, mimic and sometimes needle every syllable. Aucoin has a penchant for using the orchestra to hug vocal lines. The god of the underworld, Hades first seems courtly, snaring Eurydice by telling her he has a letter for her from her father. Aucoin clearly relished, written for high-lying tenor and sung fearlessly by Barry Banks. Well, an interesting person appears: Hades, a character Mr. ![]()
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