Editing Orpheus in the Underworld (section)

==Music==
The score of the opera, which formed the pattern for the many full-length Offenbach operas that followed, is described by Faris as having an "abundance of couplets" (songs with repeated verses for one or more singers), "a variety of other solos and duets, several big choruses, and two extended finales". Offenbach wrote in a variety of styles – from [[Rococo#Music|Rococo]] pastoral vein, via pastiche of Italian opera, to the uproarious galop – displaying, in Faris's analysis, many of his personal hallmarks, such as melodies that "leap backwards and forwards in a remarkably acrobatic manner while still sounding not only smoothly lyrical, but spontaneous as well". In such up-tempo numbers as the "Galop infernal", Offenbach makes a virtue of simplicity, often keeping to the same key through most of the number, with largely unvarying instrumentation throughout.<ref>Faris, pp. 66–67 and 69</ref> Elsewhere in the score Offenbach gives the orchestra greater prominence. In the {{lang|fr|"duo de la mouche"}} Jupiter's part, consisting of buzzing like a fly, is accompanied by the first and second violins playing [[Glossary of musical terminology#sul ponticello|sul ponticello]], to produce a similarly buzzing sound.<ref>Offenbach-Keck, pp. 227–229.</ref> In {{lang|fr|[[Le Figaro]]}}, Gustave Lafargue remarked that Offenbach's use of a piccolo trill punctuated by a tap on a cymbal in the finale of the first scene was a modern recreation of an effect invented by Gluck in his score of {{lang|fr|[[Iphigénie en Aulide]]}}.<ref name=gl>Lafargue, Gustave. [https://gallica.bnf.fr/ark:/12148/bpt6k275142w/f3.item.zoom "Chronique musicale"], ''Le Figaro'', 10 February 1874, p. 3 (in French)</ref> [[Wilfrid Mellers]] also remarks on Offenbach's use of the piccolo to enhance Eurydice's couplets with "girlish giggles" on the instrument.<ref>Mellers, p. 139</ref> [[Gervase Hughes]] comments on the elaborate scoring of the {{lang|fr|"ballet des mouches"}} [Act 3, 1874 version], and calls it "a ''tour de force''" that could have inspired [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]].<ref>Hughes (1962), p. 38</ref>

[[File:Orphéé aux enfers 3 numbers compared.tif|thumb|upright=1.75|alt=three individual lines of a musical score|Opening themes of {{lang|fr|"Quand j'étais roi de Béotie", "J'ai vu le Dieu Bacchus"}} and the "Galop infernal", showing main notes in common: A–C{{music|sharp}}–E–C{{music|sharp}}–B–A<ref>Simplified version of illustration in Faris, pp. 68–69</ref>]]
Faris comments that in {{lang|fr|Orphée aux enfers}} Offenbach shows that he was a master of establishing mood by the use of rhythmic figures. Faris instances three numbers from the second act (1858 version), which all are in the key of [[A major]] and use identical notes in almost the same order, "but it would be hard to imagine a more extreme difference in feeling than that between the song of the King of the Boeotians and the ''Galop''".<ref>Faris, pp. 68–69</ref> In a 2014 study Heather Hadlock comments that for the former, Offenbach composed "a languid yet restless melody" over a static [[Musette de cour|musette]]-style [[Pastorale|drone-bass]] accompaniment of alternating [[Dominant (music)|dominant]] and [[Tonic (music)|tonic]] harmonies, simultaneously evoking and mocking nostalgia for a lost place and time and "creating a perpetually unresolved tension between pathos and irony".<ref>Hadlock, pp. 167–168</ref> Mellers finds that Styx's aria has "a pathos that touches the heart" – perhaps, he suggests, the only instance of true feeling in the opera.<ref>Mellers, p. 141</ref>

In 1999 Thomas Schipperges wrote in the ''International Journal of Musicology'' that many scholars hold that Offenbach's music defies all [[musicological]] methods. He did not agree, and analysed the "Galop infernal", finding it to be sophisticated in many details: "For all its straightforwardness, it reveals a calculated design. The overall 'economy' of the piece serves a deliberate musical [[dramaturgy]]."<ref name=musico/>  Hadlock observes that although the best-known music in the opera is "driven by the propulsive energies of [[Gioachino Rossini|Rossinian]] comedy" and the up-tempo galop, such lively numbers go side by side with statelier music in an 18th-century vein: "The score's sophistication results from Offenbach's intertwining of contemporary urban musical language with a restrained and wistful tone that is undermined and ironized without ever being entirely undone".<ref>Hadlock, p. 164</ref>

{{lang|fr|Orphée aux enfers}} was the first of Offenbach's major works to have a chorus.{{refn|There were choruses in his earlier one-act pieces ''[[Ba-ta-clan]]'' (1855) and {{lang|fr|[[Mesdames de la Halle]]}} (1858).<ref>Harding, pp. 90–91.</ref>|group=n}} In a 2017 study Melissa Cummins comments that although the composer used the chorus extensively as Pluton's minions, bored residents of Olympus, and bacchantes in Hades, they are merely there to fill out the vocal parts in the large ensemble numbers, and "are treated as a nameless, faceless crowd who just happen to be around."<ref>Cummins, Melissa. [https://kuscholarworks.ku.edu/bitstream/handle/1808/25233/Cummins_ku_0099D_15189_DATA_1.pdf?sequence=1 "Use of Parody Techniques in Jacques Offenbach's Opérettes"] {{Webarchive|url=https://web.archive.org/web/20200806051037/https://kuscholarworks.ku.edu/bitstream/handle/1808/25233/Cummins_ku_0099D_15189_DATA_1.pdf?sequence=1 |date=2020-08-06 }}, University of Kansas, 2017, p. 89. Retrieved 29 April 2019</ref> In the Olympus scene the chorus has an unusual [[bocca chiusa]] section, marked "Bouche fermée", an effect later used by [[Georges Bizet|Bizet]] in ''[[Djamileh]]'' and [[Giacomo Puccini|Puccini]] in the "Humming Chorus" in ''[[Madama Butterfly]]''.<ref>Offenbach-Keck, pp. 87–88</ref><ref>Harris, Ellen T. [http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003336 "Bocca chiusa]", ''Grove Music Online'', Oxford University Press, 2001. Retrieved 29 April 2019 {{subscription required}} {{Webarchive|url=https://web.archive.org/web/20180603072749/http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003336 |date=3 June 2018 }}</ref>

===Editions===
The orchestra at the Bouffes-Parisiens was small – probably about thirty players.<ref name=simeone/> The 1858 version of {{lang|fr|Orphée aux enfers}} is scored for two flutes (the second doubling piccolo), one oboe, two clarinets, one bassoon, two horns, two [[cornets]],{{refn|Offenbach specified cornets in this score; in other operas, such as {{lang|fr|[[La Grande-Duchesse de Gérolstein]]}} he wrote for trumpets.<ref>Schuesselin, John Christopher. [https://digitalcommons.lsu.edu/cgi/viewcontent.cgi?article=1039&context=gradschool_majorpapers "The use of the cornet in the operettas of Gilbert and Sullivan"], LSU Digital Commons, 2003, p. 4</ref> In modern theatre orchestras cornet parts are often played on trumpets.<ref>Hughes (1959), pp. 111–112</ref>|group=n}} one trombone, timpani, percussion (bass drum/cymbals, triangle), and strings.<ref name=ok7/> The Offenbach scholar [[Jean-Christophe Keck]] speculates that the string sections consisted of at most six first violins, four second violins, three violas, four cellos, and one double bass.<ref name=ok7>Offenbach-Keck, p. 7</ref> The 1874 score calls for considerably greater orchestral forces: Offenbach added additional parts for woodwind, brass and percussion sections. For the premiere of the revised version he engaged an orchestra of sixty players, as well as a military band of a further forty players for the procession of the gods from Olympus at the end of the second act.<ref>Faris, pp. 169–170</ref>

The music of the 1874 revision was well received by contemporary reviewers,<ref name=gl/><ref>Moreno, H. [https://gallica.bnf.fr/ark:/12148/bpt6k56165966/f5.item Orphée aux enfers"] {{Webarchive|url=https://web.archive.org/web/20190509194309/https://gallica.bnf.fr/ark:/12148/bpt6k56165966/f5.item |date=2019-05-09 }}, ''Le Ménestrel'', 15 February 1874, p. 85 (in French); "Musical Gossip", ''The Athenaeum'', 21 February 1874, p. 264; and "The Drama in Paris", ''The Era'', 15 February 1874, p. 10</ref> but some later critics have felt the longer score, with its extended ballet sections, has occasional dull patches.<ref name=traubner/><ref name=n291/><ref name=lamb>Lamb, Andrew. "Orphée aux enfers", ''The Musical Times'', October 1980, p. 635</ref>{{refn|group=n|name=long}} Nonetheless, some of the added numbers, particularly Cupidon's {{lang|fr|"Couplets des baisers"}}, Mercure's rondo {{lang|fr|"Eh hop"}}, and the "Policeman's Chorus" have gained favour, and some or all are often added to performances otherwise using the 1858 text.<ref name=grove/><ref name=lamb/><ref name=mixed/>

For more than a century after the composer's death one cause of critical reservations about this and his other works was the persistence of what the musicologist Nigel Simeone has called "botched, butchered and bowdlerised" versions.<ref name=simeone/> Since the beginning of the 21st century a project has been under way to release scholarly and reliable scores of Offenbach's operas, under the editorship of Keck. The first to be published, in 2002, was the 1858 version of {{lang|fr|Orphée aux enfers}}.<ref name=simeone>Simeone, Nigel. [https://www.jstor.org/stable/1004598 "No Looking Back"], ''The Musical Times'', Summer, 2002, pp. 39–41 {{subscription required}} {{Webarchive|url=https://web.archive.org/web/20190524130435/https://www.jstor.org/stable/1004598 |date=2019-05-24 }}</ref> The Offenbach Edition Keck has subsequently published the 1874 score, and another drawing on both the 1858 and 1874 versions.<ref name=mixed>[https://www.boosey.com/cr/calendar/perf_results?musicid=103238 "Offenbach–Keck: Orphée aux Enfers (OEK critical edition: 1858/1874 mixed version)"] {{Webarchive|url=https://web.archive.org/web/20200806032012/https://www.boosey.com/cr/calendar/perf_results?musicid=103238 |date=2020-08-06 }}, Boosey & Hawkes. Retrieved 19 April 2019</ref>

===Overture and galop===
{{Listen
| filename = Offenbach - Orpheus in the Underworld - Overture.ogg
| title = Overture to ''Orphée aux enfers'': Carl Binder arrangement (9:23)
| description = From [[Musopen]]
}}
The best-known and much-recorded {{lang|fr|Orphée aux enfers}} overture<ref name=g69/> is not by Offenbach, and is not part of either the 1858 or the 1874 scores. It was arranged by the Austrian musician Carl Binder (1816–1860) for the first production of the opera in Vienna, in 1860.<ref name=g69>Gammond, p. 69</ref> Offenbach's 1858 score has a short orchestral introduction of 104 bars; it begins with a quiet melody for woodwind, followed by the theme of Jupiter's Act 2 minuet, in A{{music|flat}} major and [[Segue#In music|segues]] via a mock-pompous [[fugue]] in F major into Public Opinion's opening monologue.<ref>Offenbach-Keck, pp. 11–17</ref> The overture to the 1874 revision is a 393-bar piece, in which Jupiter's minuet and John Styx's song recur, interspersed with many themes from the score including {{lang|fr|"J'ai vu le Dieu Bacchus"}}, the couplets {{lang|fr|"Je suis Vénus"}}, the {{lang|fr|Rondeau des métamorphoses}}, the {{lang|fr|"Partons, partons"}} section of the Act 2 finale, and the Act 4 galop.<ref>Offenbach 1874, pp. 1–16</ref>{{refn|Both of Offenbach's overtures are shorter than Binder's, the 1858 introduction particularly so: it plays for 3 minutes 6 seconds in the EMI recording conducted by [[Marc Minkowski]].<ref>Notes to EMI CD set 0724355672551 (2005) {{oclc|885060258}}</ref> The 1874 overture, reconstructed by Keck, plays for 8 minutes 47 seconds in a recording by [[Les Musiciens du Louvre]] conducted by Minkowski.<ref>Notes to Deutsche Grammophon CD set 00028947764038 (2006) {{oclc|1052692620}}</ref> In recordings of Binder's arrangement conducted by [[René Leibowitz]], [[Ernest Ansermet]], [[Neville Marriner]] and [[Herbert von Karajan]] the playing time is between 9 and 10 minutes.<ref>Notes to Chesky CD set CD-57 (2010) {{oclc|767880784}}, Decca CD sets 00028947876311 (2009) {{oclc|952341087}} and 00028941147622 (1982) {{oclc|946991260}}, and Deutsche Grammophon CD set 00028947427520 (2003) {{oclc|950991848}}</ref>|group=n}}

Fifteen years or so after Offenbach's death the galop from Act 2 (or Act 4 in the 1874 version) became one of the world's most famous pieces of music,<ref name=simeone/> when the [[Moulin Rouge]] and the [[Folies Bergère]] adopted it as the regular music for their [[can-can]]. Keck has commented that the original "infernal galop" was a considerably more spontaneous and riotous affair than the {{lang|fr|[[fin de siècle]]}} can-can (Keck likens the original to a modern [[rave]]) but the tune is now inseparable in the public mind from high-kicking female can-can dancers.<ref name=simeone/>

===Numbers===
{| class="wikitable plainrowheaders" style="text-align: left; margin-right: 0;"
! scope="col" |1858 version
! scope="col" |1874 version
|-
| '''Act 1: Scene 1'''
| '''Act 1'''
|-
| Ouverture
| Ouverture
|-
| {{lang|fr|"Qui je suis?"}} (''Who am I?'') – L'Opinion publique
| {{lang|fr|Choeur des bergers: "Voici la douzième heure"}} (''Shepherds' chorus: This is the twelfth hour'') – Chorus, Le Licteur, L'Opinion publique
|-
|
| {{lang|fr|"Conseil municipal de la ville de Thèbes"}} (''The Thebes Town Council'') – Chorus
|-
| {{lang|fr|"La femme dont le coeur rêve"}}
| {{lang|fr|"La femme dont le cœur rêve"}} (''The woman whose heart is dreaming'') – Eurydice
|-
| Duo du concerto
| Duo du concerto {{lang|fr|"Ah! C'est ainsi!"}} (''Concerto duet: Ah, that's it!'') – Orphée, Eurydice
|-
|
| Ballet pastoral
|-
| {{lang|fr|"Moi, je suis Aristée"}}
| {{lang|fr|"Moi, je suis Aristée"}} (''I am Aristée'') – Aristée
|-
| {{lang|fr|"La mort m'apparaît souriante"}}
| {{lang|fr|"La mort m'apparaît souriante"}} (''Death appears to me smiling'') – Eurydice
|-
|
| {{lang|fr|"Libre! O bonheur!"}} (''Free! Oh, joy!'') – Orphée, Chorus
|-
| {{lang|fr|"C'est l'Opinion publique"}}
| {{lang|fr|"C'est l'Opinion publique"}} (''It is Public Opinion'') – L'Opinion publique, Orphée, Chorus
|-
|
| {{lang|fr|Valse des petits violonistes: "Adieu maestro"}} (''Waltz of the little violinists'') – Chorus, Orphée
|-
| {{lang|fr|"Viens! C'est l'honneur qui t'appelle!"}}
| {{lang|fr|"Viens! C'est l'honneur qui t'appelle!"}} (''Come, it's honour that calls you'') – L'Opinion publique, Orphée, Chorus

|-
| '''Act 1: Scene 2'''
| '''Act 2'''
|-
| {{lang|fr|Entr'acte}}
| {{lang|fr|Entr'acte}}
|-
| {{lang|fr|Choeur du sommeil}}
| {{lang|fr|Choeur du sommeil – "Dormons, dormons"}} (''Let's sleep'') – Chorus
|-
| {{lang|fr|"Je suis Cupidon"}} – Cupidon, Vénus
| {{lang|fr|"Je suis Vénus"}} – Vénus, Cupidon, Mars
|-
|
| {{lang|fr|Divertissement des songes et des heures}} (''Divertissement of dreams and hours'') "Tzing, tzing tzing" – Morphée
|-
| {{lang|fr|"Par Saturne, quel est ce bruit"}}
| {{lang|fr|"Par Saturne, quel est ce bruit"}} (''By Saturn! What's that noise?'') – Jupiter, Chorus
|-
| {{lang|fr|"Quand Diane descend dans la plaine"}}
| {{lang|fr|"Quand Diane descend dans la plaine"}} (''When Diana goes down to the plain'') – Diane, Chorus
|-
|
| {{lang|fr|"Eh hop! eh hop! place à Mercure"}} (''Hey presto! Make way for Mercury!'') – Mercure, Junon, Jupiter
|-
|
| {{lang|fr|Air en prose de Pluton: "Comme il me regarde!"}} (''Pluton's prose aria: How he stares at me!'')
|-
| {{lang|fr|"Aux armes, dieux et demi-dieux!"}}
| {{lang|fr|"Aux armes, dieux et demi-dieux!"}} (''To arms, gods and demigods!'') – Diane, Vénus, Cupidon, Chorus, Jupiter, Pluton
|-
| {{lang|fr|Rondeau des métamorphoses}}
| {{lang|fr|Rondeau des métamorphoses: "Pour séduire Alcmène la fière"}} (''To seduce the proud Alcmene'') – Minerve, Diane, Cupidon, Vénus and Chorus (1858 version); Diane, Minerve, Cybèle, Pomone, Vénus, Flore, Cérès and Chorus (1874)
|-
| {{lang|fr|"Il approche! Il s'avance!"}}
| {{lang|fr|"Il approche! Il s'avance"}} (''He is close! Here he comes!'') – Pluton, Les dieux, L'Opinion publique, Jupiter, Orphée, Mercure, Cupidon, Diane, Vénus
|-
| {{lang|fr|"Gloire! gloire à Jupiter... Partons, partons"}}
| {{lang|fr|"Gloire! gloire à Jupiter... Partons, partons"}} (''Glory to Jupiter! Let's go!'') – Pluton, Les dieux, L'Opinion publique, Jupiter, Orphée, Mercure, Cupidon, Diane, Vénus
|-
| '''Act 2:  Scene 1'''
| '''Act 3'''
|-
| {{lang|fr|Entr'acte}}
| {{lang|fr|Entr'acte}}
|-
|
| {{lang|fr|"Ah! quelle triste destinée!"}} (''Ah! what a sad destiny'') – Eurydice
|-
| {{lang|fr|"Quand j'étais roi de Béotie"}}
| {{lang|fr|"Quand j'étais roi de Béotie"}} (''When I was king of Boeotia'') – John Styx
|-
|
| {{lang|fr|"Minos, Eaque et Rhadamante"}} – Minos, Eaque, Rhadamante, Bailiff
|-
|
| {{lang|fr|"Nez au vent, oeil au guet"}} (''With nose in the air and watchful eye'') – Policemen
|-
|
| {{lang|fr|"Allons, mes fins limiers"}} (''Onwards, my fine bloodhounds'') – Cupidon and Policemen
|-
|
| {{lang|fr|"Le beau bourdon que voilà"}} (''What a handsome little bluebottle'') – Policemen
|-
| {{lang|fr|Duo de la mouche}}
| {{lang|fr|Duo de la mouche "Il m'a semblé sur mon épaule"}} (''Duet of the fly: It seemed to me on my shoulder'') – Eurydice, Jupiter
|-
| Finale: {{lang|fr|"Bel insecte à l'aile dorée"}}
| Finale: {{lang|fr|"Bel insecte à l'aile dorée"}} – (''Beautiful insect with golden wing''), {{lang|fr|Scène et ballet des mouches:}} Introduction, andante, valse, galop – Eurydice, Pluton, John Styx
|-
| '''Act 2: Scene 2'''
| '''Act 4'''
|-
| {{lang|fr|Entr'acte}}
| {{lang|fr|Entr'acte}}
|-
| {{lang|fr|"Vive le vin! Vive Pluton!"}}
| {{lang|fr|"Vive le vin! Vive Pluton!"}}– Chorus
|-
| {{lang|fr|"Allons! ma belle bacchante"}}
| {{lang|fr|"Allons! ma belle bacchante"}} (''Go on, my beautiful bacchante'') – Cupidon
|-
| {{lang|fr|"J'ai vu le Dieu Bacchus"}}
| {{lang|fr|"J'ai vu le Dieu Bacchus"}} (''I saw the God Bacchus'') – Eurydice, Diane, Vénus, Cupidon, chorus
|-
| {{lang|fr|Menuet et Galop}}
| {{lang|fr|Menuet et Galop "Maintenant, je veux, moi qui suis mince et fluet... Ce bal est original, d'un galop infernal"}} (''Now, being slim and lithe I want... This ball is out of the ordinary: an infernal gallop'') – All
|-
| Finale: {{lang|fr|"Ne regarde pas en arrière!"}}
| Finale: {{lang|fr|"Ne regarde pas en arrière!"}} (''Don't look back'') – L'Opinion publique, Jupiter, Les dieux, Orphée, Eurydice
|}