Oper(O), Orpheus

GREEK NATIONAL OPERA - SNFCC - ALTERNATIVE STAGE

EVENT DETAILS

Greek National Opera

Advance Sales
Stavros Niarchos Foundation
Cultural Center (SNFCC)
09.00 - 21.00 every day

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Call center: (+30)2130885700
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Tickets booked online or by phone are collected on the day of the performance at the theatre's box office by providing an ID or the credit card used.

You can also collect your tickets earlier at National Opera's box office at SNFCC.

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Children ticket
Children under 6 years old are not allowed. For booking tickets with children discount using a credit card, please call at (+30)2130885700

Contact Information
How to get to GNU as SNFCC:
http://www.nationalopera.gr/en/your-visit/

EVENT INFORMATION

Alternative Stage

Oper(O)

Orpheus

Music theater

Premiere

Concept-idea: Oper(O)
Director: Irini Georgalaki – Erifili Giannakopoulou
Music: Michalis Paraskakis 

PREMIERE 25 JANUARY 2018
25, 26, 27, 28 January 2018
2, 3 February 2018

Greek National Opera Alternative Stage
Stavros Niarchos Foundation Cultural Center

Starts at: 20.30

Dramaturgy: Angelos Skasilas 
Sets: Katerina Charou 
Costumes: Alexia Chrysohoidou 
Movement: Pauline Huguet
Lighting design: Christos Tziogkas
Sound design: Brian Coon


Ticket prices 12, 15 €
Students, children 8 €
The performance focuses more on Orpheus than on the episode in his myth that relates to love and Eurydice. It is an existentialist reading/interpretation of the myth, in which Orpheus equates with man, and it views Orpheus as a global, universal, stereotypical mortal.
Man as a fragile, easily broken being, with full knowledge of his own status as such and of his own mortality, is also able to achieve spiritual, physical and emotional transcendence. He is both small and massive at the same time. In the figure of Orpheus, we see a mortal achieving transcendence (the descent to Hades) with the aim of overturning his human nature, and defeating death and the end. He pursues that goal armed with art, driven on by love. But is love as a memory (since Eurydice has died) and it is art as a need for expression and communication. The reason why he does not succeed in the end, and confirms Eurydice's death by looking at her and thereby killing her again, is himself; his own nature, the fact that he is mortal with µmortal' needs. That unavoidable mortality that makes us all small because of how we end is the very same strength that can make us massive, transcendent and can −in the final analysis− set us free. 
The performance does not tell the tale from start to end but is divided into four scenes/vignettes (Mourning, The Descent into Hades, The look (Eurydice's Second Death) and Orpheus' Death) that explore death and our own end.