The Nuances of a Myth. On Henze’s Interest in the Figure of Orpheus

Hans Werner Henze’s copious output offers a fertile ground to investigate encrypted queer meanings. Although Henze spoke openly about the relationship between his homosexuality and his work during an interview in 1991, the musicological literature devoted to gender and sexuality issues in his output has developed only over the past decade. There are therefore plenty of opportunities for further research in this area. Two works separated in time by 27 years, namely the opera «Boulevard Solitude» (1952) and the ballet «Orpheus» (1979), lend themselves particularly well to investigating Henze’s purpose in encrypting the theme of homosexuality. The aim of this paper is to show the connection between the homosexual themes of the Orpheus myth and several dramaturgical elements of the two works. The analysis shows that investigating Henze’s output through a queer lens can bring to light dramaturgical aspects that open new perspectives on his music.