For over two millennia, Greek myths have offered insights and lessons for humanity that remain relevant today. In 2024 the West Australia Opera (WAO) will present the physical theatre Circa production of the Greek tragedy Orpheus and Eurydice, Ορφέας και Ευρυδίκη.

Beyond insights into ancient Greece’s religious and political institutions, Greek mythology has influenced Western and Eastern cultures’ arts, and literature. In Japanese myth, the tale of Orpheus and Eurydice shares comparisons with Izanagi and Izanami.

Both accounts involve a couple severed by death, and one of them embarks on a journey to the underworld to try and bring the other back. It’s a testament to the universality of human experiences and emotions.

Greek myth continues to be an integral part of the Western heritages and languages. In crafting this production, WAO, Opera Queensland joined forces with Circa. This group focuses on pushing artistic boundaries and exploring extreme physicality in all performances, including opera, ballet, and theatre.

Prudence Sanders, who will be playing Eurydice, Orpheus’ wife, and Amor, the goddess of love, found this “a very different kind of show compared to traditional opera,” as it showcases a unique collaboration wherein singers’ vocal expression intertwines with Circa’s contributions to the physical dimension.

“It’s quite an exciting treatment of this story,” Sanders told Neos Kosmos.

A tragic love story

The opera tells the tragic love story of Orpheus and Eurydice, characters from an ancient Greek myth that explores themes of love, death, poetry, and the mysteries of the afterlife.

Orpheus, known for his “musical prowess, his beautiful voice and ability to play the lyre,” falls in love with Eurydice, but she dies from a snake bite.

The gods, moved by “his singing and sorrow,” allow him to go to the underworld to bring her back, with one condition: he must not look back until they are safely back in the land of the living.

A “pivotal moment” comes when Orpheus, trying to follow the gods’ rule, casts doubt on Eurydice, who thinks something terrible has happened and sings out of “sorrow and despair.”

The tension builds until Orpheus, unable to resist, looks back, and a tragic ending unfolds.

The timeless universality of Greek myths

The 40-year-old soprano establishes a historical link between Greek tragedy and opera by referencing the Cammarata, a group of poets and musicians in Florence who played a crucial role in “reviving Greek drama and music.”

She notes that composers like Monteverdi, Handel, and Strauss drew inspiration from the Cammarata, laying the groundwork for the artistic exploration of Greek tragedies, such as Orpheus and Eurydice or Sophocles’ Electra, in later works.

Delving into the universality of themes derived from Greek tragedies like Orpheus and Eurydice, Sanders reflects on the belief in fate and destiny.

As an artist, she finds it interesting to explore “the idea that the audience is aware that this couple is doomed to start with,” all while “the couple themselves” remain oblivious to their fate.

“It’s interesting seeing the direction that something is heading in when you may not be so aware of what’s happening because you’re just sort of in the thick of it.”

Sanders also refers to “universal themes like love”.

“What it means to love somebody so fully and so deeply that you would do anything for and the desperation that people go through when there is an indication that the love was not reciprocated.”

Orpheus and Eurydice, despite their mutual love, lack trust which ultimately leads to their separation, highlighting the human nature of these experiences.

“Even though these stories are ancient, there’s a reason why they keep being explored. It comes down to the humanness of the two individuals and the theme of love.

Crossing artistic paths with Greece

Sanders’ exposure to the opera world naturally brought her into contact with Hellenic elements in the past, given the art form’s connection with Greek myths and tragedies.

She shared that during her time in the UK, she saw The Minotaur, an opera composed by Harrison Birtwistle, based on the Greek myth of the Minotaur, which she described as “incredible.”

Her connection to “Greece” doesn’t end here. This year, she teamed up with the acclaimed Greek Australian actress and singer Maria Mercedes in the West Australian Opera’s production of Stephen Sondheim and James Lapine’s Tony Award-winning musical, “Into the Woods.”

Sanders describes collaborating with Mercedes as an “exciting” experience.

Her foundation in “classical opera,” in contrast to Mercedes’ background in “theatre and music theatre,” provided unique perspectives during the preparation and rehearsal process, highlighting the Greek Australian artist’s strength in comprehending human elements and character-defining “flaws.”

“She was wonderful to work with, and the production was such a joyful and wonderful experience for all of us. We had a great time.”

Α path paved by destiny for music

Prudence’s journey into opera was shaped by her musical upbringing in a household where classical music would often “play in the background during dinner time.”

Born in Hobart and raised in Perth, she played the violin and cello before gradually venturing into singing.

Choosing music and drama as subjects in high school, she later auditioned for the Western Australian Academy of Performing Arts (WAAPA) and has pursued opera ever since.

Prudence’s British heritage, from her father’s side, motivated her to spend about ten years in the UK for further study and work.

After returning to Perth, she observed positive changes in the local arts scene, with more opportunities, a growing fringe scene, and a focus on hiring West Australian artists.

“It has been terrific, and local audiences have responded well to this change. It’s been a huge positive since I’ve returned.”