The Trio Ars Nova, made up of Samuel Bricault on flute, Chloé Ducray on harp, and Benoît Morel on alto, presented their new composition Eurydice-Miroir at the Espace Camac. The event was hosted by Jaquez François, the president of the venue. The piece was commissioned by the Chaillol festival and its artistic director, Michaël Dian, and had its world premiere in August. The work was created by Benoît Sitzia, a composer and director of the ensemble Ars Nova, and is based on the myth of Orpheus. Eurydice-Miroir is a new composition for flute, alto, and harp, incorporating various pieces from the classical repertoire as well as lullabies and melodies from Mediterranean and Oriental traditions. All the transcriptions were done by Sitzia, adding to the limited number of original works for this particular ensemble. The performance began with Nana (Lullaby) and Asturiana, both taken from Seven Popular Songs by Manuel de Falla, originally written for voice and piano. The Trio Ars Nova then performed Six Épigraphes Antiques by Claude Debussy, which was originally written for piano four hands. Each of the short pieces is introduced by an epigraph meant to capture its essence, such as "To invoke Pan, god of the summer wind." The music flowed smoothly under the hands of the three musicians, creating a remarkable balance and fusion of sounds. This was followed by The Distant Lament of the Faun by Paul Dukas, a tribute to Debussy written in 1920. Lullaby Gurian is a charming Georgian lullaby, enhanced by the warm vocal tones of the harpist and violist. Durme Hermosa Donzeya features Samuel Bricault’s flute, highlighted by the luminous sound of the crotale, a small percussion instrument. The piece includes sensitive quarter-tone "flattements," or subtle pitch variations. The myth of Orpheus, who loses Eurydice after looking back at her in the underworld, has long been a subject of interpretation. Benoît Sitzia offers an intriguing perspective, suggesting that Eurydice is Orpheus's reflection or his negative double, a part of himself he seeks to understand. Eurydice-Miroir is structured in four movements—“Sun, Gold, Water, and Moon”—with “apostrophes,” more intimate solo moments. The composition appeals to the senses and explores synesthetic correspondences: the sharpness of the piccolo and the shimmer of strings in “Sun,” the fusion of timbres and the shimmering surface in “Gold.” In the harp apostrophe, a bow gently touches the strings, creating a shivering sound. The tempo slows in “Water,” with the flute playing in bisbigliandi, a soft, whispering style. In “Moon,” a wandering shadow (an Eastern melody) and gentle flashes (pizzicatos on the harp) disturb the stillness. The trio concluded with Hal Asmar Ellon, a traditional Syrian song of great sensuality. As in Monteverdi’s Orfeo, the performance ended with Bolero-Arabesca, derived from Twelve Spanish Dances for Piano by Enrique Granados, sung by a single voice as warm and colorful as the three instruments. As an encore, the Tunisian love song was equally elevated, featuring jingles and tapping on the harp's base.