Myth meets modernity in Aphrodite, a striking opera that dissects the links between beauty, power and desire

A new opera by American composer Nico Muhly is reimagining the myth of Aphrodite through a contemporary lens, exploring beauty, desire and identity in a strikingly relevant way.

Aphrodite had its world premiere on Friday at Sydney’s Carriageworks arts precinct. The opera is directed by Alexander Berlage, performed by the Sydney Chamber Opera (in collaboration with Omega Ensemble), and features a sharp libretto by Melbourne playwright Laura Lethlean.

It is a reflective production that challenges societal ideals and the enduring weight of cultural myths.

A contemporary take on mythology

Rather than simply retelling the myth, Nico Muhly’s Aphrodite engages in a creative dialogue with it. Through its protagonist Ava, an author and recently divorced mother of three, it interrogates the ideals and pressures associated with beauty and desirability.

The story opens as Ava (Jessica O’Donoghue) returns to her hotel room after the premiere of a Netflix documentary based on her best-selling book, The Aphrodite Complex.

Alone, Ava confronts personal insecurities, societal critiques, the fallout from her divorce, and fantasies of Hector, the young director of photography who worked on the documentary’s production with her in Athens.

From her vulnerability emerges Aphrodite (Meechot Marrero) – a manifestation of the mythical Greek goddess, and a subconscious force embodying Ava’s desires and fears.

Although it is brief (running for one hour) the opera’s plot is tightly focused. It centres on Ava’s emotional unravelling and her interaction with Aphrodite.

The interplay between both characters blurs the boundaries between myth and reality, exploring how the stories we tell about ourselves, our culture, and our ideals, shape our identities.

The opera poses profound questions. What does it means to be beautiful? Does beauty bestow power? How do societal expectations distort perceptions of self worth?

Despite her academic expertise in deconstructing the Aphrodite myth, Ava finds herself trapped in the very ideals she critiques. This highlights the inescapable pull these ancient narratives continue to have in contemporary life.

A visually stunning experience

From the moment Ava steps on stage in a black tailored suit and heels, the opera’s modern aesthetic is unmistakable.

The setting, designed by Isabel Hudson, is confined to a single hotel suite, including a bedroom, wardrobe and bathroom, with the bedroom backlit by a city skyline. Everyday details such as a flatscreen TV and a minibar cart create an atmosphere that feels both intimate and starkly contemporary.

A standout feature is the black-and-white screen above the stage. This screen displays subtitles for the English libretto, alongside live visuals of the performance (handled by video designer Morgan Moroney).

The projections, captured by roving cameras, do more than just document the action. They add an artistic layer by focusing on intimate details, such as a hand gripping a thigh, or toes curling in a carpet.

This visual storytelling evokes the voyeuristic tone of a music video or vintage film noir, accentuating the themes of scrutiny and self-perception. It reflects both the mythological obsession with beauty and the modern culture of constant observation.

As the opera progresses, the visuals evolve. Toward the climax, earlier footage is replayed, creating a dynamic where Ava and Aphrodite must confront their own images. This layering transforms the cameras from passive observers into active participants.

Musically engaging

Muhly’s score is performed with technical brilliance by Omega Ensemble, and perfectly complements Lethlean’s libretto.

Ava’s music alternates between structured and rhythmic patterns, reflecting her controlled persona – while more fragmented and fluid melodies mirror her internal struggles.

By contrast, Aphrodite’s music is bold and forceful, underscoring the goddess’s power and allure. As the narrative unfolds, the musical identities of Ava and Aphrodite intertwine, mirroring the blurring of their characters.

The opera’s success is due in no small part to the extraordinary performances of its two leads. Jessica O’Donoghue is outstanding as Ava, delivering a vocally precise and emotionally raw performance. She captures Ava’s complexities – such as her intellectual sharpness and emotional vulnerability – with extraordinary depth.

Meechot Marrero is equally phenomenal as Aphrodite. Marrero embodies the goddess’s desirability and power with a commanding stage presence and thrilling vocals.

Together, O’Donoghue and Marrero create a dynamic interplay that forms the opera’s emotional core.

A triumph of modern opera

In Aphrodite, Nico Muhly and Laura Lethlean have created a bold and thought-provoking opera that will resonate deeply with contemporary audiences.

It is not merely a performance, but an experience that will linger long after the final note. By reframing mythology through a modern lens, it challenges us to reconsider the ideals we uphold, and the myths we live by.

Aphrodite is a powerful reminder that beauty, like myth, is multifaceted: its power lies not in perfection, but in its ability to challenge, inspire and transform.

Aphrodite is on at Carriageworks, Sydney, until June 28.

Laura Case does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.