Olivier Bergeron & Daniel McGrew in The Descent of Orpheus | Photo by Bruce Zinger
Going into The Descent of Orpheus, Opera Atelier’s dignified, formalist production of Marc Antoine Charpentier’s baroque opera, I was struck by how often I’ve encountered this myth recently. Just three years ago Atelier did Gluck’s Orpheus and Eurydice (with its non-canonically happy ending); there’s Hadestown, of course; it features prominently in Portrait of a Lady on Fire and Hamnet. I suppose we have some trust issues we’re working through collectively. Continue Reading