The speakers sound is musicalised spectrally-compositionally by the orchestra, the orchestra "speaks". A minimum number of orchestral instruments is necessary to ensure a spectral and rhythmic representation of non-orchestral sounds in a differentiated way.

Even the preparatory stage noises become valid sounds at the beginning.

The Orphic divides into silence and the emergence and completion of sound, ethereal, subtle, and the Dionysian into noise (chaos) and dominance (pathos).

Parts from Orpheus operas by Monteverdi and Gluck have been electronically pre-processed and are sometimes played in as a hint of historical connections (no direct quotations).

The sonorous, somewhat museum-like recitation of the text is also ironised in many parts through exaggeration or concealment. Entanglement in and distance from pathos alternate.

Interpretation of the text is avoided, but hints of extreme psychological situations are also audible in the music., but then not in a purposeful way, often ending abruptly and diverting into other realms.




Avoiding static scenes in rapid changes, music and performance move in a steady flow. The text appears repeatedly, sometimes understandable, sometimes drowned out. This blurs the chronology at many points. But the text always appears clearly understandable at a certain moment, so it is present overall.

The sound structures, too, usually do not follow a clearly directed development, breaks interfere a snap-in.

The beginning is blurred, the piece begins indeterminately. Virtual audience noises mix with those present in the hall. The soloists begin prematurely.

The stage is not yet completely set at the beginning.

The singers do not show themselves in virtuoso individual performances, but fulfil certain functions that range from barely perceptible to overly obvious. They constitute space in many moments (places, proximity, distance, approach, distancing, etc.). The "conventional" singing style of soprano and tenor is countered by a second soloist, specialised in contemporary music, who represents textless sound nature with rather archaic lutes.

The origin of the sound sources is in the foreground (voice, spatial sound, speech sound, string sound...). Deliberate blurring occurs through microphone amplification of the second soloist, whose voice then becomes audible in different places in the room, detached from its visual appearance.

The sound grounds of Orpheus (voice and string (lyre)) are central compositional building blocks.

The contributors do not play a clearly defined role within the myth, but within the media function. 

Choir :




Clutter of voices - synchronous - asynchronous

Mass as organ - compact - dispersed

self-sustaining - disturbed

The speaker is partly dominant, partly a victim of the events in two guises. He vacillates between narrator and affected person.

The character Orpheus appears between resignation through loss and self-confidence vis-à-vis the gods, as a victim and as an actor. Disempowerment and self-empowerment go hand in hand.

The nature theatre develops into a demonstration of power, power over nature - not pacification, but denaturation. denaturalisation. This polarity is also evident in the juxtaposition of emotion and distance in the music, in the alternation of devotion and disturbance.

Stimulating for the project were the voices of Rolf Boysen (speaking voice) and 

Ute Wassermann (singing voice).

For many parts in which the language produces musical structures and sounds, a specially created programme was used, which algorithmically produces basic structures that were then further worked on compositionally. In the last part (after Orpheus' death), in which the text has disappeared and is replaced by louds, the vocal sound of the new music specialist is increasingly decisive for the instrumental structures. Thus, two different modes of composition are employed, based on the change in the medial flow of JetztDort.


And where is Eurydice ?