I would hesitate before naming Euridice a neglected masterwork importantly restored. Only a few years after this commendable pioneering effort, Claudio Monteverdi brought Peri’s unadventurous recitative to an infinitely higher expressive level through a command of dissonance and dramatic variety only hinted at in the earlier work. But Milenski — who, by the way, has given us the entire Monteverdi canon in earlier years, in unforgettable, innovative stagings — has once again proved the unique and genuine value of his daredevil enterprise. His next offering, by the way, is Thomas Adès’ ravishingly silly Powder Her Face, a 400-year forward leap in operatic time. What’ll you bet he lands on his feet?