Approaches to the problem in the six points mentioned:
The experience of the audience is oriented in the immediate appearance, only indirectly on projections of textual content (of the narrative). The situation of the recipient in the space is made experiencable in different aspects (space, scenery, actors). Music theater functions here as a medial narrative. The mythical content, the "story", is compositional material and only intermittently present in the sequence.
The HOW dominates the WHAT. The way of presentation has its own story - a touch of absurd music theater.
The three spaces in their acoustic characteristics are bridged by loudspeakers in the audience area, which allow the sounds to shift from the stage to behind the audience.
Musical tradition in dabbed-out moments (Monteverdi, Gluck) is stripped of its context and embedded in other musical environments. Sensations slip out of the chronology of the text, taking on a life of their own, in order to then form moments that can be directly grasped by the senses, which are less dependent on textual interpretation, but are rooted in the music itself - a game with consternation and relaxation.
Three large movable walls made of wood and metal, solid and also hollow as resonators, can be turned by participants, mounted on ball bearings.
Three small loudspeakers shine onto these walls. The sounds from these loudspeakers are then reflected from the walls into the audience, depending on their position. Alternatively, they are built into the walls.
The only fixed point of sound on the stage is a solo drum kit on the left, which communicates with the other drum kit in the orchestra pit, whose instruments it mirrors. The percussionist on stage also strokes and plucks two long strings, three meters long, which join his percussion as a stage object.
In the final part, he strikes the three walls, moving around the stage space.
The non-visibility of the orchestra is thematized.
From the anonymity of the orchestra pit, artificial instrumental sounds of non-existent instruments fly into the hall from time to time via a loudspeaker placed below, which have an irritating effect because of their unexpectedness.
The "nature" of the sound is connected to the locality of its source.
A denaturation of the place of a singer, in that sound and place are no longer identical, is created by changing loudspeaker amplification.
Interweaving of orchestral sound and recorded sounds blurs the coherence of sound and place.
Sound materials: string sound (lyre), vocal processes of the orchestra, working noises on stage and the text of the original.
The text is primarily recited by a speaker.
The action of the text content itself is not played, the recitation of this narration is played.
The text basis is Orpheus and Eurydice by Ovid, Metamorphoses 10/1..85.
Reasons for this: Nature - dominance / the structure and sound, also in the German translation, enables an immediate musical correspondence (speaking music) / the chronology of the story in detail recedes somewhat into the background / music in immediate experience is part of the text content / text as ritual / text as music / music as ritual / listening to the text as a fluctuation between sound experience and understanding.
Speech pitch and speech rhythm are used musically.
The myth of "Orpheus" is well known, often used in literature and music theatre, so straying into a more medial view is all the more strange.
Orpheus represents refinement, beauty, silence, the nature of sound.
The Dionysian appears here in contradiction, also as self-centred hedonism, destructive, chaotic, as an instrument of power.
The text is spoken and sung by the chorus in excerpts or in reaction, with fragmenting pauses, also disappearing in vocalises, sometimes also representing the audience.