Orpheus in the Underworld
Template:Short description Template:Italic title Template:Featured article
Orpheus in the Underworld<ref name=grove/> and Orpheus in Hell<ref name=g276/> are English names for Template:Lang (Template:IPA), a comic opera with music by Jacques Offenbach and words by Hector Crémieux and Ludovic Halévy. It was first performed as a two-act "opéra bouffon" at the Théâtre des Bouffes-Parisiens, Paris, on 21 October 1858, and was extensively revised and expanded in a four-act "opéra féerie" version, presented at the Théâtre de la Gaîté, Paris, on 7 February 1874.
The opera is a lampoon of the ancient legend of Orpheus and Eurydice. In this version Orpheus is not the son of Apollo but a rustic violin teacher. He is glad to be rid of his wife, Eurydice, when she is abducted by the god of the underworld, Pluto. Orpheus has to be bullied by Public Opinion into trying to rescue Eurydice. The reprehensible conduct of the gods of Olympus in the opera was widely seen as a veiled satire of the court and government of Napoleon III, Emperor of the French. Some critics expressed outrage at the librettists' disrespect for classic mythology and the composer's parody of Gluck's opera Template:Lang; others praised the piece highly.
Template:Lang was Offenbach's first full-length opera. The original 1858 production became a box-office success, and ran well into the following year, rescuing Offenbach and his Bouffes company from financial difficulty. The 1874 revival broke records at the Gaîté's box-office. The work was frequently staged in France and internationally during the composer's lifetime and throughout the 20th century. It is one of his most often performed operas, and continues to be revived in the 21st century.
In the last decade of the 19th century the Paris cabarets the Moulin Rouge and Folies Bergère adopted the music of the "Galop infernal" from the culminating scene of the opera to accompany the can-can, and ever since then the tune has been popularly associated with the dance.
Background and first productions
[edit]
Between 1855 and 1858 Offenbach presented more than two dozen one-act operettas, first at the Bouffes-Parisiens, Salle Lacaze, and then at the Bouffes-Parisiens, Salle Choiseul. The theatrical licensing laws then permitted him only four singers in any piece, and with such small casts, full-length works were out of the question.<ref name=g49/> In 1858 the licensing restrictions were relaxed, and Offenbach was free to go ahead with a two-act work that had been in his mind for some time. Two years earlier he had told his friend the writer Hector Crémieux that when he was musical director of the Comédie-Française in the early 1850s he swore revenge for the boredom he suffered from the posturings of mythical heroes and gods of Olympus in the plays presented there.<ref>Teneo, Martial. "Jacques Offenbach: His Centenary" Template:Webarchive, The Musical Quarterly, January 1920, pp. 98–117</ref> Cremieux and Ludovic Halévy sketched out a libretto for him lampooning such characters.<ref name=l106>Luez, p. 106</ref>Template:Refn By 1858, when Offenbach was finally allowed a large enough cast to do the theme justice, Halévy was preoccupied with his work as a senior civil servant, and the final libretto was credited to Crémieux alone.<ref name=g49>Gammond, p. 49</ref>Template:Refn Most of the roles were written with popular members of the Bouffes company in mind, including Désiré, Léonce, Lise Tautin, and Henri Tayau as an Orphée who could actually play Orpheus's violin.<ref name=grove>Lamb, Andrew. "Orphée aux enfers", Grove Music Online, Oxford University Press, 2002. Retrieved 27 April 2019 Template:Subscription required Template:Webarchive</ref>Template:Refn
The first performance took place at the Salle Choiseul on 21 October 1858. At first the piece did reasonably well at the box-office but was not the tremendous success Offenbach had hoped for. He insisted on lavish stagings for his operas: expenses were apt to outrun receipts, and he was in need of a substantial money-spinner.<ref>Gammond, p. 49; and Yon, p. 213</ref> Business received an inadvertent boost from the critic Jules Janin of the Template:Lang. He had praised earlier productions at the Bouffes-Parisiens but was roused to vehement indignation at what he maintained was a blasphemous, lascivious outrage – "a profanation of holy and glorious antiquity".<ref name=g54>Gammond, p. 54</ref> His attack, and the irreverent public ripostes by Crémieux and Offenbach, made headlines and provoked huge interest in the piece among the Parisian public, who flocked to see it.<ref name=g54/>Template:Refn In his 1980 study of Offenbach, Alexander Faris writes, "Template:Lang became not only a triumph, but a cult."<ref name=f71>Faris, p. 71</ref>Template:Refn It ran for 228 performances, at a time when a run of 100 nights was considered a success.<ref name=op>"Edmond Audran" Template:Webarchive, Opérette – Théâtre Musical, Académie Nationale de l'Opérette (in French). Retrieved 16 April 2019</ref> Albert Lasalle, in his history of the Bouffes-Parisiens (1860), wrote that the piece closed in June 1859 – although it was still performing strongly at the box-office – "because the actors, who could not tire the public, were themselves exhausted".<ref name=al>"Orphée aux enfers" Template:Webarchive, Encyclopédie de l'art lyrique français, Association l'art lyrique français (in French). Retrieved 26 April 2019</ref>
In 1874 Offenbach substantially expanded the piece, doubling the length of the score and turning the intimate opéra bouffon of 1858 into a four-act opéra féerie extravaganza, with substantial ballet sequences. This version opened at the Théâtre de la Gaîté on 7 February 1874, ran for 290 performances,<ref>"Le succès au théâtre" Template:Webarchive, Le Figaro, 23 August 1891, p. 2</ref> and broke box-office records for that theatre.<ref name=ano>"Orphée aux enfers" Template:Webarchive, Opérette – Théâtre Musical, Académie Nationale de l'Opérette (in French). Retrieved 21 April 2019</ref>Template:Refn During the first run of the revised version Offenbach expanded it even further, adding ballets illustrating the kingdom of Neptune in Act 3Template:Refn and bringing the total number of scenes in the four acts to twenty-two.<ref name=ano/>Template:Refn Template:Clear
Roles
[edit]| Role | Voice typeTemplate:Refn | Premiere cast (two-act version), 21 October 1858Template:Pb(Conductor: Jacques Offenbach)<ref>Offenbach (1859), unnumbered introductory page; and Crémieux, p. 7</ref> | Premiere cast (four-act version), 7 February 1874Template:Pb(Conductor: Albert Vizentini)<ref name=al/><ref>Offenbach (1874), unnumbered introductory page</ref> |
|---|---|---|---|
| Pluton (Pluto), god of the underworld, disguised as Aristée (Aristaeus), a shepherd | tenor | Léonce | Achille-Félix Montaubry |
| Jupiter, king of the gods | low tenor or high baritone | Désiré | Christian |
| Orphée (Orpheus), a musician | tenor | Henri Tayau | Meyronnet |
| John Styx, servant of Pluton, formerly king of Boeotia | tenor or baritone | Bache | Alexandre, fils |
| Mercure (Mercury), messenger of the gods | tenor | J. Paul | Pierre Grivot |
| Bacchus, god of wine | spoken | Antognini | Chevalier |
| Mars, god of war | bass | Floquet | Gravier |
| Eurydice, wife of Orphée | soprano | Lise Tautin | Marie Cico |
| Diane (Diana), goddess of chastity | soprano | Chabert | Berthe Perret |
| Template:Lang (Public Opinion) | mezzo-soprano | Marguerite Macé-Montrouge | Elvire Gilbert |
| Junon (Juno), wife of Jupiter | soprano or mezzo-soprano | Enjalbert | Pauline Lyon |
| Vénus (Venus), goddess of beauty | soprano | Marie Garnier | Angèle |
| Cupidon (Cupid), god of love | soprano (en travesti) | Coralie Geoffroy | Matz-Ferrare |
| Minerve (Minerva), goddess of wisdom | soprano | Marie Cico | Castello |
| Morphée (Morpheus), god of sleep | tenor | –Template:Refn | Damourette |
| Cybèle (Cybele), goddess of nature | soprano | – | Maury |
| Pomone (Pomona), goddess of fruits | soprano | – | Durieu |
| Flore (Flora), goddess of flowers | soprano | – | B. Mery |
| Cérès (Ceres), goddess of agriculture | soprano | – | Iriart |
| Amour | mezzo-soprano | – | Matz-Ferrare |
| Cerbère (Cerberus), three-headed guardian of the underworld | barked | Tautin, snr.Template:Refn | Monet |
| Minos | baritone/tenor | – | Scipion |
| Éaque (Aeacus) | tenor | – | Jean Paul |
| Rhadamante (Rhadamanthus) | bass | – | J. Vizentini |
| Gods, goddesses, muses, shepherds, shepherdesses, lictors and spirits in the underworld | |||
Synopsis
[edit]Original two-act version
[edit]Act 1, Scene 1: The countryside near Thebes, Ancient Greece
[edit]A spoken introduction with orchestral accompaniment (Introduction and Melodrame) opens the work. Public Opinion explains who she is – the guardian of morality (Template:Lang).<ref>Crémieux, pp. 10–11</ref> She says that unlike the chorus in Ancient Greek plays she does not merely comment on the action, but intervenes in it, to make sure the story maintains a high moral tone. Her efforts are hampered by the facts of the matter: Orphée is not the son of Apollo, as in classical myth, but a rustic teacher of music, whose dislike of his wife, Eurydice, is heartily reciprocated. She is in love with the shepherd, Aristée (Aristaeus), who lives next door (Template:Lang),<ref>Crémieux, pp. 11–12</ref> and Orphée is in love with Chloë, a shepherdess. When Orphée mistakes Eurydice for her, everything comes out, and Eurydice insists they abandon the marriage. Orphée, fearing Public Opinion's reaction, torments his wife into keeping the scandal quiet using violin music, which she hates (Template:Lang).<ref>Crémieux, pp. 15–18</ref>
Aristée enters. Though seemingly a shepherd he is in reality Pluton (Pluto), God of the Underworld. He keeps up his disguise by singing a pastoral song about sheep (Template:Lang).<ref>Crémieux, pp. 21–22</ref> Eurydice has discovered what she thinks is a plot by Orphée to kill Aristée – letting snakes loose in the fields – but is in fact a conspiracy between Orphée and Pluton to kill her, so that Pluton may have her and Orphée be rid of her. Pluton tricks her into walking into the trap by showing immunity to it, and she is bitten.Template:Refn As she dies, Pluton transforms into his true form (Transformation Scene).<ref>Crémieux, p. 27</ref> Eurydice finds that death is not so bad when the God of Death is in love with one (Template:Lang).<ref>Crémieux, pp. 29–29</ref> They descend into the Underworld as soon as Eurydice has left a note telling her husband she has been unavoidably detained.<ref>Crémieux, p. 29</ref>
All seems to be going well for Orphée until Public Opinion catches up with him, and threatens to ruin his violin teaching career unless he goes to rescue his wife. Orphée reluctantly agrees.<ref>Crémieux, pp. 30–32</ref>
Act 1, Scene 2: Olympus
[edit]The scene changes to Olympus, where the Gods are sleeping (Template:Lang). Cupidon and Vénus enter separately from amatory nocturnal escapades and join their sleeping colleagues,Template:Refn but everyone is soon woken by the sound of the horn of Diane, supposedly chaste huntress and goddess.<ref>Crémieux, p. 35</ref> She laments the sudden absence of Actaeon, her current love (Template:Lang);<ref>Crémieux, p. 36</ref> to her indignation, Jupiter tells her he has turned Actaeon into a stag to protect her reputation.<ref>Crémieux, p. 37</ref> Mercury arrives and reports that he has visited the Underworld, to which Pluton has just returned with a beautiful woman.<ref>Crémieux, pp. 44–45</ref> Pluton enters, and is taken to task by Jupiter for his scandalous private life.<ref>Crémieux, pp. 48–52</ref> To Pluton's relief the other Gods choose this moment to revolt against Jupiter's reign, their boring diet of ambrosia and nectar, and the sheer tedium of Olympus (Template:Lang).<ref>Crémieux, pp. 53–54</ref> Jupiter's demands to know what is going on lead them to point out his hypocrisy in detail, poking fun at all his mythological affairs (Template:Lang).<ref>Crémieux, pp. 58–60</ref>
Orphée's arrival, with Public Opinion at his side, has the gods on their best behaviour (Template:Lang).<ref>Crémieux, pp. 65–67</ref> Orphée obeys Public Opinion and pretends to be pining for Eurydice: he illustrates his supposed pain with a snatch of Template:Lang from Gluck's Template:Lang.<ref>Offenbach (1859), p. 73</ref> Pluton is worried he will be forced to give Eurydice back; Jupiter announces that he is going to the Underworld to sort everything out. The other gods beg to come with him, he consents, and mass celebrations break out at this holiday (Template:Lang).<ref>Crémieux, pp. 68–69</ref>
Act 2, Scene 1: Pluton's boudoir in the Underworld
[edit]
Eurydice is being kept locked up by Pluton, and is finding life very tedious. Her gaoler is a dull-witted tippler by the name of John Styx. Before he died, he was King of Boeotia (a region of Greece that Aristophanes made synonymous with country bumpkins),<ref>Iversen, Paul A. "The Small and Great Daidala in Boiotian History", Historia: Zeitschrift Für Alte Geschichte, 56, no. 4 (2007), p. 381 Template:Subscription required Template:Webarchive</ref> and he sings Eurydice a doleful lament for his lost kingship (Template:Lang).<ref>Crémieux, p. 75</ref>
Jupiter discovers where Pluton has hidden Eurydice, and slips through the keyhole by turning into a beautiful, golden fly. He meets Eurydice on the other side, and sings a love duet with her where his part consists entirely of buzzing (Template:Lang).<ref>Crémieux, pp. 84–88</ref> Afterwards, he reveals himself to her, and promises to help her, largely because he wants her for himself. Pluton is left furiously berating John Styx.<ref>Crémieux, pp. 89–90</ref>
Act 2, Scene 2: The banks of the Styx
[edit]The scene shifts to a huge party the gods are having, where ambrosia, nectar, and propriety are nowhere to be seen (Template:Lang).<ref>Crémieux, p. 95</ref> Eurydice is present, disguised as a bacchante (Template:Lang),<ref>Crémieux, p. 96</ref> but Jupiter's plan to sneak her out is interrupted by calls for a dance. Jupiter insists on a minuet, which everybody else finds boring (Template:Lang). Things liven up as the most famous number in the opera, the "Galop infernal", begins, and all present throw themselves into it with wild abandon (Template:Lang).<ref>Crémieux, p. 98</ref>
Ominous violin music heralds the approach of Orphée (Entrance of Orphée and Public Opinion),<ref>Crémieux, p. 103</ref> but Jupiter has a plan, and promises to keep Eurydice away from her husband. As with the standard myth, Orphée must not look back, or he will lose Eurydice forever (Template:Lang).<ref>Crémieux, p. 105</ref> Public Opinion keeps a close eye on him, to keep him from cheating, but Jupiter throws a lightning bolt, making him jump and look back, and Eurydice vanishes.<ref>Crémieux, p. 106</ref> Amid the ensuing turmoil, Jupiter proclaims that she will henceforth belong to the god Bacchus and become one of his priestesses. Public Opinion is not pleased, but Pluton has had enough of Eurydice, Orphée is free of her, and all ends happily.<ref>Crémieux, p. 107</ref>
Revised 1874 version
[edit]The plot is essentially that of the 1858 version. Instead of two acts with two scenes apiece, the later version is in four acts, which follow the plot of the four scenes of the original. The revised version differs from the first in having several interpolated ballet sequences, and some extra characters and musical numbers. The additions do not affect the main narrative but add considerably to the length of the score.Template:Refn In Act I there is an opening chorus for assembled shepherds and shepherdesses, and Orpheus has a group of youthful violin students, who bid him farewell at the end of the act. In Act 2 Mercure is given a solo entrance number (Template:Lang). In Act 3, Eurydice has a new solo, the Template:Lang (Template:Lang), Cupidon has a new number, the Template:Lang (Template:Lang), the three judges of Hades and a little band of policemen are added to the cast to be involved in Jupiter's search for the concealed Eurydice, and at the end of the act the furious Pluton is seized and carried off by a swarm of flies.<ref name=simeone/><ref>Notes to EMI LP set SLS 5175 (1979) Template:Oclc</ref>
Music
[edit]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 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 Template:Lang Jupiter's part, consisting of buzzing like a fly, is accompanied by the first and second violins playing sul ponticello, to produce a similarly buzzing sound.<ref>Offenbach-Keck, pp. 227–229.</ref> In Template:Lang, 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 Template:Lang.<ref name=gl>Lafargue, Gustave. "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 Template:Lang [Act 3, 1874 version], and calls it "a tour de force" that could have inspired Tchaikovsky.<ref>Hughes (1962), p. 38</ref>
Faris comments that in Template:Lang 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-style drone-bass accompaniment of alternating dominant and 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 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>
Template:Lang was the first of Offenbach's major works to have a chorus.Template:Refn 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. "Use of Parody Techniques in Jacques Offenbach's Opérettes" Template:Webarchive, 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 Bizet in Djamileh and Puccini in the "Humming Chorus" in Madama Butterfly.<ref>Offenbach-Keck, pp. 87–88</ref><ref>Harris, Ellen T. "Bocca chiusa", Grove Music Online, Oxford University Press, 2001. Retrieved 29 April 2019 Template:Subscription required Template:Webarchive</ref>
Editions
[edit]The orchestra at the Bouffes-Parisiens was small – probably about thirty players.<ref name=simeone/> The 1858 version of Template:Lang is scored for two flutes (the second doubling piccolo), one oboe, two clarinets, one bassoon, two horns, two cornets,Template:Refn 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. Orphée aux enfers" Template:Webarchive, 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>Template:Refn Nonetheless, some of the added numbers, particularly Cupidon's Template:Lang, Mercure's rondo Template:Lang, 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 Template:Lang.<ref name=simeone>Simeone, Nigel. "No Looking Back", The Musical Times, Summer, 2002, pp. 39–41 Template:Subscription required Template:Webarchive</ref> The Offenbach Edition Keck has subsequently published the 1874 score, and another drawing on both the 1858 and 1874 versions.<ref name=mixed>"Offenbach–Keck: Orphée aux Enfers (OEK critical edition: 1858/1874 mixed version)" Template:Webarchive, Boosey & Hawkes. Retrieved 19 April 2019</ref>
Overture and galop
[edit]Template:Listen The best-known and much-recorded Template:Lang 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 ATemplate:Music major and 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 Template:Lang, the couplets Template:Lang, the Template:Lang, the Template:Lang section of the Act 2 finale, and the Act 4 galop.<ref>Offenbach 1874, pp. 1–16</ref>Template:Refn
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 Template:Lang 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
[edit]| 1858 version | 1874 version |
|---|---|
| Act 1: Scene 1 | Act 1 |
| Ouverture | Ouverture |
| Template:Lang (Who am I?) – L'Opinion publique | Template:Lang (Shepherds' chorus: This is the twelfth hour) – Chorus, Le Licteur, L'Opinion publique |
| Template:Lang (The Thebes Town Council) – Chorus | |
| Template:Lang | Template:Lang (The woman whose heart is dreaming) – Eurydice |
| Duo du concerto | Duo du concerto Template:Lang (Concerto duet: Ah, that's it!) – Orphée, Eurydice |
| Ballet pastoral | |
| Template:Lang | Template:Lang (I am Aristée) – Aristée |
| Template:Lang | Template:Lang (Death appears to me smiling) – Eurydice |
| Template:Lang (Free! Oh, joy!) – Orphée, Chorus | |
| Template:Lang | Template:Lang (It is Public Opinion) – L'Opinion publique, Orphée, Chorus |
| Template:Lang (Waltz of the little violinists) – Chorus, Orphée | |
| Template:Lang | Template:Lang (Come, it's honour that calls you) – L'Opinion publique, Orphée, Chorus |
| Act 1: Scene 2 | Act 2 |
| Template:Lang | Template:Lang |
| Template:Lang | Template:Lang (Let's sleep) – Chorus |
| Template:Lang – Cupidon, Vénus | Template:Lang – Vénus, Cupidon, Mars |
| Template:Lang (Divertissement of dreams and hours) "Tzing, tzing tzing" – Morphée | |
| Template:Lang | Template:Lang (By Saturn! What's that noise?) – Jupiter, Chorus |
| Template:Lang | Template:Lang (When Diana goes down to the plain) – Diane, Chorus |
| Template:Lang (Hey presto! Make way for Mercury!) – Mercure, Junon, Jupiter | |
| Template:Lang (Pluton's prose aria: How he stares at me!) | |
| Template:Lang | Template:Lang (To arms, gods and demigods!) – Diane, Vénus, Cupidon, Chorus, Jupiter, Pluton |
| Template:Lang | Template:Lang (To seduce the proud Alcmene) – Minerve, Diane, Cupidon, Vénus and Chorus (1858 version); Diane, Minerve, Cybèle, Pomone, Vénus, Flore, Cérès and Chorus (1874) |
| Template:Lang | Template:Lang (He is close! Here he comes!) – Pluton, Les dieux, L'Opinion publique, Jupiter, Orphée, Mercure, Cupidon, Diane, Vénus |
| Template:Lang | Template:Lang (Glory to Jupiter! Let's go!) – Pluton, Les dieux, L'Opinion publique, Jupiter, Orphée, Mercure, Cupidon, Diane, Vénus |
| Act 2: Scene 1 | Act 3 |
| Template:Lang | Template:Lang |
| Template:Lang (Ah! what a sad destiny) – Eurydice | |
| Template:Lang | Template:Lang (When I was king of Boeotia) – John Styx |
| Template:Lang – Minos, Eaque, Rhadamante, Bailiff | |
| Template:Lang (With nose in the air and watchful eye) – Policemen | |
| Template:Lang (Onwards, my fine bloodhounds) – Cupidon and Policemen | |
| Template:Lang (What a handsome little bluebottle) – Policemen | |
| Template:Lang | Template:Lang (Duet of the fly: It seemed to me on my shoulder) – Eurydice, Jupiter |
| Finale: Template:Lang | Finale: Template:Lang – (Beautiful insect with golden wing), Template:Lang Introduction, andante, valse, galop – Eurydice, Pluton, John Styx |
| Act 2: Scene 2 | Act 4 |
| Template:Lang | Template:Lang |
| Template:Lang | Template:Lang– Chorus |
| Template:Lang | Template:Lang (Go on, my beautiful bacchante) – Cupidon |
| Template:Lang | Template:Lang (I saw the God Bacchus) – Eurydice, Diane, Vénus, Cupidon, chorus |
| Template:Lang | Template:Lang (Now, being slim and lithe I want... This ball is out of the ordinary: an infernal gallop) – All |
| Finale: Template:Lang | Finale: Template:Lang (Don't look back) – L'Opinion publique, Jupiter, Les dieux, Orphée, Eurydice |
Reception
[edit]19th century
[edit]
From the outset Template:Lang divided critical opinion. Janin's furious condemnation did the work much more good than harm,<ref name=g54/> and was in contrast with the laudatory review of the premiere by Jules Noriac in the Template:Lang, which called the work, "unprecedented, splendid, outrageous, gracious, delightful, witty, amusing, successful, perfect, tuneful".<ref>Quoted in Faris, pp. 69–70</ref>Template:Refn Bertrand Jouvin, in Template:Lang, criticised some of the cast but praised the staging – "a fantasy show, which has all the variety, all the surprises of fairy-opera".<ref name=y212>Yon, p. 212</ref> The Template:Lang thought that though it would be wrong to expect too much in a piece of this genre, Template:Lang was one of Offenbach's most outstanding works, with charming couplets for Eurydice, Aristée-Pluton and the King of Boeotia.<ref name=rgm>Smith, p. 350</ref> Template:Lang called the cast "thoroughbreds" who did full justice to "all the charming jokes, all the delicious originalities, all the farcical oddities thrown in profusion into Offenbach's music".<ref name=y213>Yon, pp. 212–213</ref>
Writing of the 1874 revised version, the authors of Template:Lang said, "Template:Lang is above all a good show. The music of Offenbach has retained its youth and spirit. The amusing operetta of yore has become a splendid extravaganza",<ref name=n291>Noël and Stoullig (1888), p. 291</ref> against which Félix Clément and Pierre Larousse wrote in their Template:Lang (1881) that the piece is "a coarse and grotesque parody" full of "vulgar and indecent scenes" that "give off an unhealthy smell".<ref name=candl>Clément and Larousse, pp. 503–504</ref>
The opera was widely seen as containing thinly disguised satire of the régime of Napoleon III,<ref name=g54/><ref>Munteanu Dana. "Parody of Greco-Roman Myth in Offenbach's Orfée aux enfers and La belle Hélène", Syllecta Classica 23 (2013), pp. 81 and 83–84 Template:Subscription required Template:Webarchive</ref> but the early press criticisms of the work focused on its mockery of revered classical authors such as OvidTemplate:Refn and the equally sacrosanct music of Gluck's Template:Lang.<ref>Gammond, p. 51</ref>Template:Refn Faris comments that the satire perpetrated by Offenbach and his librettists was cheeky rather than hard-hitting,<ref>Faris, p. 176</ref> and Richard Taruskin in his study of 19th-century music observes, "The calculated licentiousness and feigned sacrilege, which successfully baited the stuffier critics, were recognized by all for what they were – a social palliative, the very opposite of social criticismTemplate:Nbsp[...] The spectacle of the Olympian gods doing the cancan threatened nobody's dignity."<ref>Taruskin, p. 646</ref> The Emperor greatly enjoyed Template:Lang when he saw it at a command performance in 1860; he told Offenbach he would "never forget that dazzling evening".<ref name=f77>Faris, p. 77</ref>
20th and 21st centuries
[edit]After Offenbach's death his reputation in France suffered a temporary eclipse. In Faris's words, his comic operas were "dismissed as irrelevant and meretricious souvenirs of a discredited Empire".<ref>Faris, p. 219</ref> Obituarists in other countries similarly took it for granted that the comic operas, including Template:Lang, were ephemeral and would be forgotten.<ref name=times>Obituary, The Times, 6 October 1880, p. 3</ref><ref>"Jacques Offenbach dead – The end of the great composer of opera bouffe" Template:Webarchive The New York Times, 6 October 1880</ref> By the time of the composer's centenary, in 1919, it had been clear for some years that such predictions had been wrong.<ref>Hauger, George. "Offenbach: English Obituaries and Realities", The Musical Times, October 1980, pp. 619–621 Template:Subscription required Template:Webarchive</ref> Template:Lang was frequently revived,<ref>Noël and Stoullig (1888), p. 287 and (1890), p. 385; Stoullig, p. 225; and "Courrier des Spectacles", Le Gaulois: littéraire et politique, 10 May 1912, p. 1 (all in French)</ref> as were several more of his operas,<ref>Gänzl and Lamb, pp. 286, 296, 300 and 306</ref> and criticisms on moral or musical grounds had largely ceased. Gabriel Groviez wrote in The Musical Quarterly:
Among modern critics, Traubner describes Template:Lang as "the first great full-length classical French operettaTemplate:Nbsp[...] classical (in both senses of the term)", although he regards the 1874 revision as "overblown".<ref name=traubner>Traubner (1997), pp. 267–268</ref> Peter Gammond writes that the public appreciated the frivolity of the work while recognising that it is rooted in the best traditions of opéra comique.<ref>Gammond, pp. 55–56</ref> Among 21st-century writers Bernard Holland has commented that the music is "beautifully made, relentlessly cheerful, reluctantly serious", but does not show as the later Tales of Hoffmann does "what a profoundly gifted composer Offenbach really was";<ref>Holland, Bernard. "A U.P.S. Man Joins Offenbach’s Gods and Goddesses" Template:Webarchive, The New York Times, 18 November 2006, p. B14</ref> Andrew Lamb has commented that although Template:Lang has remained Offenbach's best-known work, "a consensus as to the best of his operettas would probably prefer Template:Lang for its sparkle, Template:Lang for its charm and Template:Lang for its all-round brilliance".<ref>Lamb, Andrew. "Offenbach, Jacques", Grove Music Online, Oxford University Press, 2001. Retrieved 26 April 2019. Template:Subscription required Template:Webarchive</ref> Kurt Gänzl writes in The Encyclopedia of the Musical Theatre that compared with earlier efforts, Template:Lang was "something on a different scaleTemplate:Nbsp[...] a gloriously imaginative parody of classic mythology and of modern events decorated with Offenbach's most laughing bouffe music."<ref>Gänzl, p. 1514</ref> In a 2014 study of parody and burlesque in Template:Lang, Hadlock writes:
Revivals
[edit]France
[edit]
Between the first run and the first Paris revival, in 1860, the Bouffes-Parisiens company toured the French provinces, where Template:Lang was reported as meeting with "immense" and "incredible" success".<ref name=mw>"Music and Theatres in Paris", The Musical World, 1 September 1860, p. 552; and "Petit Journal", Le Figaro, 20 September 1860, p. 7 (in French)</ref> Tautin was succeeded as Eurydice by Delphine Ugalde when the production was revived at the Bouffes-Parisiens in 1862 and again in 1867.<ref name=g276/>
The first revival of the 1874 version was at the Théâtre de la Gaîté in 1875 with Marie Blanche Peschard as Eurydice.<ref name=g276>Gänzl and Lamb, p. 276</ref> It was revived again there in January 1878 with Meyronnet (Orphée), Peschard (Eurydice), Christian (Jupiter), Habay (Pluton) and Pierre Grivot as both Mercure and John Styx,<ref>Noël and Stoullig (1879), p. 354</ref> For the Exposition Universelle season later that year Offenbach revived the piece again,<ref>Gammond, pp. 124–125</ref> with Grivot as Orphée, Peschard as Eurydice,<ref name=n364/> the composer's old friend and rival Hervé as Jupiter<ref>Yon, p. 581, and Gammond, p. 124</ref> and Léonce as Pluton.<ref name=n364>Noël and Stoullig (1879), p. 364</ref> The opera was seen again at the Gaîté in 1887 with Taufenberger (Orphée), Jeanne Granier (Eurydice), Eugène Vauthier (Jupiter) and Alexandre (Pluton).<ref>Noel and Stoullig (1888), p. 287</ref> There was a revival at the Éden-Théâtre (1889) with Minart, Granier, Christian and Alexandre.<ref>Noël and Stoullig (1890), p. 385</ref>
20th-century revivals in Paris included productions at the Théâtre des Variétés (1902) with Charles Prince (Orphée), Juliette Méaly (Eurydice), Guy (Jupiter) and Albert Brasseur (Pluton),<ref>Stoullig, p. 225</ref> and in 1912 with Paul Bourillon, Méaly, Guy and Prince;<ref>"Courrier des Spectacles" Template:Webarchive, Le Gaulois: littéraire et politique, 10 May 1912, p. 1 (in French)</ref> the Théâtre Mogador (1931) with Adrien Lamy, Manse Beaujon, Max Dearly and Lucien Muratore;<ref>"Orphée aux enfers au Théâtre Mogador" Template:Webarchive, Le Figaro, 22 December 1931, p. 6 (in French)</ref> the Opéra-Comique (1970) with Rémy Corazza, Anne-Marie Sanial, Michel Roux and Robert Andreozzi;<ref>"Orphée aux enfers" Template:Webarchive, Bibliothèque nationale de France. (in French) Retrieved 26 April 2019</ref> the Théâtre de la Gaïté-Lyrique (1972) with Jean Giraudeau, Jean Brun, Albert Voli and Sanial; and by the Théâtre français de l'Opérette at the Espace Cardin (1984) with multiple casts including (in alphabetical order) André Dran, Maarten Koningsberger, Martine March, Martine Masquelin, Marcel Quillevere, Ghyslaine Raphanel, Bernard Sinclair and Michel Trempont.<ref name=g276/> In January 1988 the work received its first performances at the Paris Opéra, with Michel Sénéchal (Orphée), Danielle Borst (Eurydice), François Le Roux (Jupiter), and Laurence Dale (Pluton).<ref>De Brancovan, Mihai. "La Vie Musicale"Revue des Deux Mondes, March 1988, pp. 217–218 (in French) Template:Subscription required Template:Webarchive</ref>
In December 1997 a production by Laurent Pelly was seen at the Opéra National de Lyon, where it was filmed for DVD, with Yann Beuron (Orphée), Natalie Dessay (Eurydice), Laurent Naouri (Jupiter) and Jean-Paul Fouchécourt (Pluton) with Marc Minkowski conducting.<ref name=lyon/> The production originated in Geneva, where it had been given in September – in a former hydroelectric plant used while the stage area of the Grand Théâtre was being renovated – by a cast headed by Beuron, Annick Massis, Naouri, and Éric Huchet.<ref>Kasow, J. "Massis's Eurydice – report from Geneva", Opera, January 1998, pp. 101–102</ref>
Continental Europe
[edit]The first production outside France is believed to have been at Breslau in October 1859.<ref name=g72/> In December of the same year the opera opened in Prague. The work was given in German at the Carltheater, Vienna, in March 1860 in a version by Ludwig Kalisch, revised and embellished by Johann Nestroy, who played Jupiter. Making fun of Graeco-Roman mythology had a long tradition in the popular theatre of Vienna, and audiences had no difficulty with the disrespect that had outraged Jules Janin and others in Paris.<ref>Gier, Albert. "La fortune d'Offenbach en Allemagne: Traductions, Jugements Critiques, Mises en Scène", Lied Und Populäre Kultur, 57 (2012), pp. 161–180 (in French) Template:Subscription required Template:Webarchive</ref> It was for this production that Carl Binder put together the version of the overture that is now the best known.<ref name=simeone/> There were revivals at the same theatre in February and June 1861 (both given in French) and at the Theater an der Wien in January 1867. 1860 saw the work's local premieres in Brussels, Stockholm, Copenhagen and Berlin.<ref name=g276/> Productions followed in Warsaw, St Petersburg, and Budapest, and then Zurich, Madrid, Amsterdam, Milan and Naples.<ref name=g72/>
Gänzl mentions among "countless other productionsTemplate:Nbsp[...] a large and glitzy German revival under Max Reinhardt" at the Großes Schauspielhaus, Berlin in 1922.<ref name=g1552>Gänzl, p. 1552</ref>Template:Refn A more recent Berlin production was directed by Götz Friedrich in 1983;<ref>Holloway, Ronald. "The Arts: Orpheus in the Underworld/Berlin", The Financial Times, 29 December 1983, p. 5 Template:Subscription required</ref> a video of the production was released.<ref name=gf>Orpheus in der Unterwelt, Worldcat. Retrieved 9 May 2019. Template:Oclc</ref> 2019 productions include those directed by Helmut Baumann at the Vienna Volksoper,<ref>"Orpheus in der Unterwelt" Template:Webarchive, Volksoper, Vienna. Retrieved 21 April 2019</ref> and by Barrie Kosky at the Haus für Mozart, Salzburg, with a cast headed by Anne Sophie von Otter as L'Opinion publique, a co-production between the Salzburg Festival, Komische Oper Berlin and Deutsche Oper am Rhein.<ref>"Orphée aux enfers" Template:Webarchive, Salzburg Festival. Retrieved 21 April 2019</ref>
Britain
[edit]
The first London production of the work was at Her Majesty's Theatre in December 1865, in an English version by J. R. Planché titled Orpheus in the Haymarket.<ref name=hay>"Haymarket", The Athenaeum, 30 December 1865, p. 933</ref>Template:Refn There were West End productions in the original French in 1869 and 1870 by companies headed by Hortense Schneider.<ref name=l1869>"The London Theatres", The Era, 18 July 1869, p. 11</ref><ref name=l1870>"Princess's Theatre", The Morning Post, 23 June 1870, p. 6</ref>Template:Refn English versions followed by Alfred Thompson (1876) and Henry S. Leigh (1877).<ref name=e76>"The Royalty", The Era, 31 December 1876, p. 12</ref><ref name=lr>"Alhambra Theatre", The London Reader, 26 May 1877, p. 76</ref>Template:Refn An adaptation by Herbert Beerbohm Tree and Alfred Noyes opened at His Majesty's in 1911.<ref name=a11>"Dramatic Gossip", The Athenaeum, 23 December 1911, p. 806</ref>Template:Refn The opera was not seen again in London until 1960, when a new adaptation by Geoffrey Dunn opened at Sadler's Wells Theatre;<ref name=cm>Mason, Colin. "Jolly good fun", The Guardian, 19 May 1960, p. 11</ref>Template:Refn this production by Wendy Toye was frequently revived between 1960 and 1974.<ref>"A Modern Orpheus", The Times, 18 May 1960, p.18; "Racy Production of Orpheus", The Times, 15 August 1961, p. 11; "Bank Holiday in Hades", The Times, 24 April 1962, p. 14; Sadie, Stanley. "Spacious Orpheus", The Times, 23 August 1968, p. 12; and Blyth, Alan. "Victory for Sadler's Wells Opera over name", The Times, 4 January 1974, p. 8</ref> An English version by Snoo Wilson for English National Opera (ENO), mounted at the London Coliseum in 1985,<ref>Gilbert, pp. 372–373</ref> was revived there in 1987.<ref>Hoyle, Martin. "British Opera Diary: Orpheus in the Underworld. English National Opera at the London Coliseum, May 2", Opera, July 1987, p. 184</ref> A co-production by Opera North and the D'Oyly Carte Opera Company in a version by Jeremy Sams opened in 1992 and was revived several times.<ref>Higgins, John. "A midsummer night's pantomime", The Times, 23 June 1992, p. 2[S]; and Milnes, Rodney. "All down to a hell of a good snigger" Template:Webarchive, The Times, 22 March 1993, p. 29</ref> In 2019 ENO presented a new production directed by Emma Rice, which opened to unfavourable reviews.<ref>Canning, Hugh. "Vulgar down below", The Sunday Times, 13 October 2019, p. 23; Maddocks, Fiona. "The week in classical", The Observer, 12 October 2019, p. 33; Morrison, Richard. "Offenbach without bite: Emma Rice's ENO debut is too earnest and not funny enough", The Times, 7 October 2019, p. 11; Jeal, Erica. "Orpheus in the Underworld", The Guardian, 6 October 2019, p. 11; Christiansen, Rupert. "Orpheus falls victim to the curse of the Coli", The Daily Telegraph, 7 October 2019, p. 24; and Hall, George, "Orpheus in the Underworld review at London Coliseum – Emma Rice's misjudged production", The Stage, 6 October 2019.</ref>
Outside Europe
[edit]The first New York production was at the Stadt Theater, in German, in March 1861; the production ran until February 1862. Two more productions were sung in German: December 1863 with Fritze, Knorr, Klein and Frin von Hedemann and December 1866 with Brügmann, Knorr, Klein and Frin Steglich-Fuchs.<ref name=g276/> The opera was produced at the Theatre Français in January 1867 with Elvira Naddie, and at the Fifth Avenue Theatre in April 1868 with Lucille Tostée. In December 1883 it was produced at the Bijou Theatre with Max Freeman, Marie Vanoni, Digby Bell and Harry Pepper.<ref name=g276/> There were productions in Rio de Janeiro in 1865, Buenos Aires in 1866, Mexico City in 1867 and Valparaiso in 1868.<ref name=g72>Gammond, p. 72</ref> The opera was first staged in Australia at the Princess Theatre, Melbourne in March 1872, in Planché's London text, with Alice May as Eurydice.<ref>"The Opera" Template:Webarchive, The Argus, 1 April 1872, p. 2</ref>
A spectacular production by Reinhardt was presented in New York in 1926.<ref>"The Miracle Revival", The New York Times, 4 April 1929, p. 23</ref> The New York City Opera staged the work, conducted by Erich Leinsdorf, in 1956, with Sylvia Stahlman as Eurydice and Norman Kelley as Pluto.<ref>Taubman, Howard. "Opera", The New York Times, 21 September 1956, p. 31</ref> More recent US productions have included a 1985 version by Santa Fe Opera,<ref>Dierks, Donald. "SFO has romp with 'Orpheus'", The San Diego Union, 3 August 1985 Template:Subscription required</ref> and the 1985 ENO version, which was staged in the US by the Houston Grand Opera (co-producers) in 1986, and Los Angeles Opera in 1989.<ref name=dg>Gregson, David. "'Orpheus' is infernal fun, but overdone", The San Diego Union, 17 June 1989, p. C-8 Template:Subscription required</ref>
21st century worldwide
[edit]In April 2019 the Operabase website recorded 25 past or scheduled productions of the opera from 2016 onwards, in French or in translation: nine in Germany, four in France, two in Britain, two in Switzerland, two in the US, and productions in Gdańsk, Liège, Ljubljana, Malmö, Prague and Tokyo.<ref>"Offenbach" Template:Webarchive, Operabase. Retrieved 21 April 2019</ref>
Recordings
[edit]
Audio
[edit]In French
[edit]There are three full-length recordings. The first, from 1951 features the Paris Philharmonic Chorus and Orchestra, conducted by René Leibowitz, with Jean Mollien (Orphée), Claudine Collart (Eurydice), Bernard Demigny (Jupiter) and André Dran (Pluton); it uses the 1858 version.<ref>"Orphée aux enfers" Template:Webarchive, WorldCat. Retrieved 23 April 2019 Template:Oclc</ref> A 1978 issue from EMI employs the expanded 1874 version; it features the Chorus and Orchestra of the Toulouse Capitol conducted by Michel Plasson, with Michel Sénéchal (Orphée), Mady Mesplé (Eurydice), Michel Trempont (Jupiter) and Charles Burles (Pluton).<ref>"Orphée aux enfers" Template:Webarchive, WorldCat. Retrieved 23 April 2019 Template:Oclc</ref> A 1997 recording of the 1858 score with some additions from the 1874 revision features the Chorus and Orchestra of the Opéra National de Lyon, conducted by Marc Minkowski, with Yann Beuron (Orphée), Natalie Dessay (Eurydice), Laurent Naouri (Jupiter) and Jean-Paul Fouchécourt (Pluton).<ref>"Orphée aux enfers" Template:Webarchive, WorldCat. Retrieved 23 April 2019 Template:Oclc</ref>
In English
[edit]Template:As of the only recording of the full work made in English is the 1995 D'Oyly Carte production, conducted by John Owen Edwards with David Fieldsend (Orpheus), Mary Hegarty (Eurydice), Richard Suart (Jupiter), and Barry Patterson (Pluto). It uses the 1858 score with some additions from the 1874 revision. The English text is by Jeremy Sams.<ref>"Orpheus in the Underworld" Template:Webarchive, WorldCat. Retrieved 23 April 2019. Template:Oclc</ref> Extended excerpts were recorded of two earlier productions: Sadler's Wells (1960), conducted by Alexander Faris, with June Bronhill as Eurydice and Eric Shilling as Jupiter;<ref>"Orpheus in the Underworld" Template:Webarchive, WorldCat. Retrieved 23 April 2019.Template:Oclc</ref> and English National Opera (1985), conducted by Mark Elder, with Stuart Kale (Orpheus), Lillian Watson (Eurydice), Richard Angas (Jupiter) and Émile Belcourt (Pluto).<ref>"Orpheus in the Underworld" Template:Webarchive, WorldCat. Retrieved 23 April 2019.Template:Oclc</ref>
In German
[edit]There have been three full-length recordings in German. The first, recorded in 1958, features the North German Radio Symphony Orchestra and Chorus conducted by Paul Burkhard, with Heinz Hoppe (Orpheus), Anneliese Rothenberger as Eurydice (Eurydike), Max Hansen as Jupiter and Ferry Gruber as Pluto.<ref>"Orphée aux Enfers: sung in German" Template:Webarchive, WorldCat. Retrieved 23 April 2019 Template:Oclc</ref> Rothenberger repeated her role in a 1978 EMI set, with the Philharmonia Hungarica and Cologne Opera Chorus conducted by Willy Mattes, with Adolf Dellapozza (Orpheus), Benno Kusche (Jupiter) and Gruber (Pluto).<ref>"Orpheus in der Unterwelt: buffoneske Oper in zwei Akten (vier Bildern)" Template:Webarchive, WorldCat. Retrieved 23 April 2019 Template:Oclc</ref> A recording based on the 1983 Berlin production by Götz Friedrich features the Orchestra and Chorus of Deutsche Oper Berlin, conducted by Jesús López Cobos, with Donald Grobe (Orpheus), Julia Migenes (Eurydike), Hans Beirer (Jupiter) and George Shirley (Pluto).<ref>"Orpheus in der Unterwelt" Template:Webarchive. WorldCat. Retrieved 23 April 2019 Template:Oclc</ref>
Video
[edit]Recordings have been released on DVD based on Herbert Wernicke's 1997 production at the Théâtre de la Monnaie, Brussels, with Alexandru Badea (Orpheus), Elizabeth Vidal (Eurydice), Dale Duesing (Jupiter) and Reinaldo Macias (Pluton),<ref>"Orphée aux enfers" Template:Webarchive, WorldCat. Retrieved 23 April 2019 Template:Oclc</ref> and Laurent Pelly's production from the same year, with Natalie Dessay (Eurydice), Yann Beuron (Orphée), Laurent Naouri (Jupiter) and Jean-Paul Fouchécourt (Pluton).<ref name=lyon>"Orphée aux enfers" Template:Webarchive, WorldCat. Retrieved 23 April 2019. Template:Oclc</ref> A version in English made for the BBC in 1983 has been issued on DVD. It is conducted by Faris and features Alexander Oliver (Orpheus), Lillian Watson (Eurydice), Denis Quilley (Jupiter) and Émile Belcourt (Pluto).<ref>"Orpheus in the Underworld" Template:Webarchive, WorldCat. Retrieved 23 April 2019. Template:Oclc</ref> The Berlin production by Friedrich was filmed in 1984 and has been released as a DVD;<ref name=gf/> a DVD of the Salzburg Festival production directed by Kosky was published in 2019.<ref>WorldCat Template:Oclc</ref>
Notes, references and sources
[edit]Notes
[edit]References
[edit]Sources
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External links
[edit]- Template:Commons category-inline
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- "Orpheus In the Underworld" The Guide to Light Opera and Operetta
- "Orpheus in the Underworld" The Guide to Musical Theatre
- Template:IMSLP2
- Template:DNB portal
Template:Jacques Offenbach Template:Orpheus and Eurydice Template:Authority control