Articulate to a fault, the gifted young American composer Matthew Aucoin wrote at exhaustive length about the Orpheus myth in The Impossible Art: Adventures In Opera, a collection of essays that are often esoteric to the point of sheer absurdity. But his explorations were all grist to his mill as he forged his own link in the endless chain of Orpheus operas. By turns snide, wistful, and achingly sentimental with respect to the heroine’s dad (but not to her doofus husband), Aucoin’s Eurydice takes off from Sarah Ruhl’s play, from which she herself fashioned the libretto. The director Mary Zimmerman gave the often ravishing, sometimes attenuated score a physical production to die for, which premiered in Los Angeles in 2020 with Aucoin on the podium and at the Met in 2021, conducted by Yannick Nézet-Séguin. Now Boston Lyric Opera unveils a “disarming and intimate arrangement” co-commissioned with Opera Grand Rapids. At a guess, this is the version in which Eurydice will or will not have a sustained afterlife. Once again, Aucoin takes the podium. The excellently credentialed soprano Sydney Mancasola sings the title role, the stalwart baritone Elliot Madore is heard as Orpheus, at times in tandem with the countertenor Nicholas Kelliher as Orpheus’s double, a part that’s dramatically thankless yet magical in the glistening threads it adds to the musical tapestry. The new staging is by Doug Fitch, a busy designer-director who flies under the major institutions’ radar producing, on shoestring budgets, magic fit for a king. —Matthew Gurewitsch