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Gluck’s opera “Orfeo ed Euridice” is a funny thing: a timeless Greek myth of separation and loss, twisted into a Viennese cream puff.

“Orfeo ed Euridice,” instead, is a character study of the grieving Orfeo, desperate to do anything to be reunited with his deceased Euridice.

Just a few hours before that 13th “Turandot,” Palumbo was in the Met’s steeply raked List Hall, leading the chorus in a rehearsal for Gluck’s “Orfeo ed Euridice,” which was opening in a month.

Highlights included new stagings of Mozart’s “Le Nozze di Figaro,”Verdi’s ‘Macbeth” and “Falstaff” and Bohuslav Martinu’s rarely seen “The Greek Passion” along with Gluck’s “Orfeo ed Euridice,” held over from this year’s Whitsun Festival.

One of his original productions in Berlin was a 2016 staging of Gluck’s “Orfeo ed Euridice,” which featured an abstract set designed by Frank Gehry that reportedly cost 100,000 euros.