L’Euridice, composta in musica in stile rappresentativo by Giulio Caccini (1551–1618) is considered the first fully preserved and printed opera in music history. It was composed in 1600 to the libretto by Ottavio Rinuccini, itself commissioned for the wedding celebrations of Maria de Medici and her spouse, the French king Henry IV. The score was printed in 1600 in Florence and dedicated to Count Giovanni Bardi; in 1615 it was reprinted in Venice, but without the dedication. In fact, Caccini had not been commissioned to write the music for that occasion: in 1600 the official composer of the opera Euridice had been Jacopo Peri, whose version, with approximately one sixth of Caccini’s music – the parts sung by Caccini’s family members, including Euridice’s part – was performed in Florence on 6 October 1600. At this hybrid performance, parts of Giulio Caccini’s opera were heard for the first time. The only known full staging of Caccini’s opera took place on 5 December 1602 at Palazzo Pitti in Florence to honour Cardinal Montalto. It entertained the noble public for two hours. Considering the simplicity and shortness of the extant score, the performance cannot have been a simple one: it would have included repetitions, dances, and other unwritten additions. In the tradition of humanist Florentine circles, Ottavio Rinuccini’s libretto follows one of the most famous classical myths – the story of the divine singer Orpheus, which was particularly appropriate for a first attempt to resurrect the classical tragedy, believed to have been entirely sung. Yet Rinuccini was inspired not only by Ovid’s and Virgil’s narratives of the myth but also by Angelo Poliziano’s Favola di Orfeo and some other, earlier Renaissance sources. Thee story itself was partly changed and adapted to the occasion of an important state marriage, a common practice in later operatic texts as well. It tells only the first part of the myth, centred on the tragic loss of Eurydice and on Orpheus’ despair: on his ‘magic’ song that makes the underworld deities return his beloved to life. Omitting Eurydice’s second death, the opera has her and her Orpheus return to the meadow, where it ends with a happy chorus of nymphs and shepherds. Caccini’s Euridice did not have a wide dissemination in the early 17th century, but somehow the score (published in a single volume, as a score for a single voice and instrumental bass with some four- and five-part choruses) found its way into the music collection of the Cathedral of Ljubljana, where it was first recorded in 1620 as »Euridice Giulii Cazini in folio«. Another hand added »desunt«, meaning that the second review had found it missing. At the next review, however, a third hand added new information, »L’euridice composta Julii Caccini liber solus«, probably referring to the same copy – now found – rather than to a second copy. Unfortunately neither of the music items listed in the above-mentioned inventory survives, so these two short notes are the only testimony to an early presence of Giulio Caccini’s Euridice in Ljubljana. The article discusses some possible theories on why and how the score might have entered the Ljubljana inventory.