When we decide to make a new
production of Orpheus and Eurydice
We have to consider the choice of version.
Orpheus and Eurydice is one of the
operas which has been sung the
most over the centuries
with a multitude of versions,
of very different interpretations
with a constant desire to see this work
- not evolve - but
to try to find the best balance for it.
Indeed one of our
great French composers Berlioz
In the middle of the 19th century, in 1859
Berlioz siezes this Orpheus and Eurydice
- Berlioz was a fervent admirer at the time
of Gluck who was so key
In Berlioz’s own vocation
as a composer.
Berlioz also makes a
new synthesis of the two great
versions dating from the time of the creation
 i.e. the version Italian
dating back to 1762 
and the French Parisian version of 1774
In this score there are several
questions, several puzzles such as that of the overtire
This ouverture
is like a great party
a kind of big fireworks display
which opens the action and but
which has no connection with the drama that follows.
This can create something
very theatrical 
but we weren't interested in this contrast.
There is also the question of
end of the 'happy end'
with love that reappears which
thanks a wave of a magic wand
once again resuscitates Eurydice 
to reunite the two spouses at the end.
We tackled these questions 
in tandem with Aurélien Bory
to decide on the story he wanted to tell
on the meaning he wanted to give
to his stage ideas
It’s not that we took liberties
but I believe that Orpheus and Eurydice
is one of those works
that we must appropriate
while being extremely respectful
that is to say
not to invent a single note
not to want to belie the score
or the opera but to leave
some ‘settings’ open
some things that transform the work
that will be able to give
a totally different appearance.
The very special magic of such
masterpieces and 
in particular orpheus and eurydice
is their universality, the quest, the dream
Gluck's utopia in reforming opera
to re create 
Such a utopia which has crossed
centuries of art history and
the history of music
it's always been this
dream of the ancients, this dream of antiquity.
I believe that Gluck - better than
in any other tragedy - has succeessfully
something very special with Orpheus
 - it will still  touch us
in a thousand years - it's a work
which is totally open and I think that's it
also who makes is passionate
because however you look at it
from whatever angle 
it remains overwhelming
and fascinating.
