The third important say has, instead of Eurydice, Henze's orchestra. It is brilliantly lead by the young Swedish conductor Patrik Ringborg and most justly appears on stage for the final curtain bows.
Henze's Orpheus music is opalescent with many colours. It is capable of extraordinary escalation, able to throw every corps de ballet in the air, it is excessively rich in its gestures, suggestive, in its lyrical moments beguilingly dulcet. It is masterly. It doesn't tell the choreography what it wants to hear, but challenges it persistently. It never looses the great breath. It has demands a great deal from itself, but also from the choreography, which occasionally has trouble in keeping up with Henze's musical wealth of ideas:
Orpheus is a ballet for listening. Those were since Stravinsky's Sacre by no means the worst pieces.