In Emily St. John Mandel’s novel Station Eleven, a small group of actors and musicians wander through a post-apocalyptic landscape, bringing music and theater to an, empty land. Such is also the world of David Bösch’s dark, sad production of Monteverdi’s L’Orfeo, now in its first revival at the Bayerische Staatsoper, again with baritone Christian Gerhaher in an unusual star turn. While not explicitly post-apocalyptic, it is nonetheless a desolate, nocturnal version of our reality–one even the perky, ukulele-carrying spirit of Music fails to brighten.