Jacques Offenbach Can-can From Orpheus in the Underworld

Opéra bouffon by Jacques Offenbach

Poster for Paris revival, 1878

Orpheus in the Underworld ^[one] and Orpheus in Hell ^[ii] are English names for Orphée aux enfers (French: [ɔʁfe oz‿ɑ̃fɛʁ]), a comic opera with music by Jacques Offenbach and words past 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 fable of Orpheus and Eurydice. In this version Orpheus is non the son of Apollo just a rustic violin instructor. He is glad to be rid of his wife, Eurydice, when she is abducted past the god of the underworld, Pluto. Orpheus has to exist bullied by Public Stance 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 courtroom and authorities of Napoleon 3, Emperor of the French. Some critics expressed outrage at the librettists' disrespect for classic mythology and the composer's parody of Gluck'south opera Orfeo ed Euridice; others praised the piece highly.

Orphée aux enfers was Offenbach'southward beginning full-length opera. The original 1858 product became a box-office success, and ran well into the following year, rescuing Offenbach and his Bouffes company from financial difficulty. The 1874 revival bankrupt records at the Gaîté's box-function. The piece of work was frequently staged in France and internationally during the composer'southward lifetime and throughout the 20th century. It is one of his virtually 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 back-trail the can-tin, and ever since then the tune has been popularly associated with the dance.

Background and first productions [edit]

Betwixt 1855 and 1858 Offenbach presented more than two dozen 1-human action operettas, first at the Bouffes-Parisiens, Salle Lacaze, and so at the Bouffes-Parisiens, Salle Choiseul. The theatrical licensing laws and so permitted him but four singers in any piece, and with such modest casts, full-length works were out of the question.^[iii] In 1858 the licensing restrictions were relaxed, and Offenbach was free to become ahead with a two-human activity work that had been in his mind for some fourth dimension. Two years earlier he had told his friend the writer Hector Crémieux that when he was musical managing director of the Comédie-Française in the early 1850s he swore revenge for the colorlessness he suffered from the posturings of mythical heroes and gods of Olympus in the plays presented at that place.^[4] Cremieux and Ludovic Halévy sketched out a libretto for him lampooning such characters.^{[v] [n 1]} By 1858, when Offenbach was finally immune a large enough cast to practice the theme justice, Halévy was preoccupied with his work as a senior ceremonious servant, and the final libretto was credited to Crémieux alone.^{[three] [n two]} Most of the roles were written with popular members of the Bouffes visitor in heed, including Désiré, Léonce, Lise Tautin, and Henri Tayau every bit an Orphée who could actually play Orpheus'southward violin.^{[ane] [due north three]}

The first performance took place at the Salle Choiseul on 21 October 1858. At offset 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.^[viii] Business organization received an inadvertent boost from the critic Jules Janin of the Journal des débats. He had praised earlier productions at the Bouffes-Parisiens but was roused to vehement indignation at what he maintained was a cursing, lascivious outrage – "a profanation of holy and glorious artifact".^[9] His assail, 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.^{[9] [northward four]} In his 1980 study of Offenbach, Alexander Faris writes, "Orphée became not only a triumph, but a cult."^{[14] [n 5]} It ran for 228 performances, at a time when a run of 100 nights was considered a success.^[sixteen] Albert Lasalle, in his history of the Bouffes-Parisiens (1860), wrote that the piece airtight in June 1859 – although it was nevertheless performing strongly at the box-office – "because the actors, who could not tire the public, were themselves exhausted".^{[17] [due north 6]}

In 1874 Offenbach essentially expanded the slice, 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,^[18] and broke box-office records for that theatre.^{[nineteen] [n vii]} During the showtime run of the revised version Offenbach expanded it even further, adding ballets illustrating the kingdom of Neptune in Deed three^{[n 8]} and bringing the total number of scenes in the 4 acts to xx-two.^{[19] [n 9]}

Roles [edit]

Role	Vocalisation blazon[n 10]	Premiere cast (two-human action version), 21 October 1858 (Conductor: Jacques Offenbach)[25]	Premiere cast (iv-human action version), 7 Feb 1874 (Conductor: Albert Vizentini)[17] [26]
Pluton (Pluto), god of the underworld, disguised as Aristée (Aristaeus), a shepherd	tenor	Léonce	Achille-Félix Montaubry
Jupiter, male monarch of the gods	low tenor or loftier 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, married woman of Orphée	soprano	Lise Tautin	Marie Cico
Diane (Diana), goddess of chastity	soprano	Chabert	Berthe Perret
L'Opinion publique (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 slumber	tenor	–[due north 11]	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 agronomics	soprano	–	Iriart
Amour	mezzo-soprano	–	Matz-Ferrare
Cerbère (Cerberus), three-headed guardian of the underworld	barked	Tautin, snr.[n 12]	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 ane, Scene one: The countryside near Thebes, Ancient Hellenic republic [edit]

A spoken introduction with orchestral accompaniment (Introduction and Melodrame) opens the work. Public Opinion explains who she is – the guardian of morality ("Qui suis-je? du Théâtre Antiquarian").^[28] She says that unlike the chorus in Aboriginal Greek plays she does not simply comment on the action, but intervenes in it, to make certain the story maintains a high moral tone. Her efforts are hampered by the facts of the thing: Orphée is not the son of Apollo, as in classical myth, but a rustic instructor of music, whose dislike of his wife, Eurydice, is heartily reciprocated. She is in love with the shepherd, Aristée (Aristaeus), who lives adjacent door ("La femme dont le coeur rêve"),^[29] and Orphée is in honey 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 married woman into keeping the scandal quiet using violin music, which she hates ("Ah, c'est ainsi").^[30]

Marie Garnier as Vénus in the original 1858 product

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 almost sheep ("Moi, je suis Aristée").^[31] Eurydice has discovered what she thinks is a plot by Orphée to kill Aristée – letting snakes loose in the fields – just is in fact a conspiracy between Orphée and Pluton to impale her, and so that Pluton may have her and Orphée exist rid of her. Pluton tricks her into walking into the trap by showing immunity to it, and she is bitten.^{[northward xiii]} As she dies, Pluton transforms into his true form (Transformation Scene).^[33] Eurydice finds that death is not so bad when the God of Expiry is in love with one ("La mort thou'apparaît souriante").^[34] They descend into the Underworld as soon every bit Eurydice has left a annotation telling her married man she has been unavoidably detained.^[35]

All seems to be going well for Orphée until Public Opinion catches up with him, and threatens to ruin his violin pedagogy career unless he goes to rescue his wife. Orphée reluctantly agrees.^[36]

Act one, Scene 2: Olympus [edit]

The scene changes to Olympus, where the Gods are sleeping ("Dormons, dormons"). Cupidon and Vénus enter separately from amatory nocturnal escapades and join their sleeping colleagues,^{[n 14]} merely everyone is soon woken by the sound of the horn of Diane, supposedly celibate huntress and goddess.^[38] She laments the sudden absence of Actaeon, her current love ("Quand Diane descend dans la plaine");^[39] to her indignation, Jupiter tells her he has turned Actaeon into a stag to protect her reputation.^[40] Mercury arrives and reports that he has visited the Underworld, to which Pluton has just returned with a beautiful woman.^[41] Pluton enters, and is taken to task past Jupiter for his scandalous private life.^[42] To Pluton's relief the other Gods cull this moment to revolt against Jupiter'due south reign, their boring diet of ambrosia and nectar, and the sheer tedium of Olympus ("Aux armes, dieux et demi-dieux!").^[43] Jupiter'southward demands to know what is going on pb them to point out his hypocrisy in detail, poking fun at all his mythological affairs ("Pour séduire Alcmène la fière").^[44]

Orphée's arrival, with Public Stance at his side, has the gods on their best behaviour ("Il approche! Il s'avance").^[45] Orphée obeys Public Opinion and pretends to be pining for Eurydice: he illustrates his supposed pain with a snatch of "Che farò senza Euridice" from Gluck'southward Orfeo.^[46] 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 up with him, he consents, and mass celebrations break out at this holiday ("Gloire! gloire à Jupiter ... Partons, partons").^[47]

Act two, Scene 1: Pluton's boudoir in the Underworld [edit]

Jupiter transformed into a fly – Désiré, in the 1858 production

Eurydice is being kept locked up past Pluton, and is finding life very tedious. Her gaoler is a dull-witted tippler by the proper name of John Styx. Before he died, he was King of Boeotia (a region of Greece that Aristophanes made synonymous with state bumpkins),^[48] and he sings Eurydice a doleful lament for his lost kingship ("Quand j'étais roi de Béotie").^[49]

Jupiter discovers where Pluton has subconscious Eurydice, and slips through the keyhole by turning into a beautiful, gilt fly. He meets Eurydice on the other side, and sings a dearest duet with her where his part consists entirely of buzzing ("Duo de la mouche").^[50] Afterward, he reveals himself to her, and promises to help her, largely because he wants her for himself. Pluton is left furiously berating John Styx.^[51]

Act two, Scene two: 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 ("Vive le vin! Vive Pluton!").^[52] Eurydice is nowadays, bearded as a bacchante ("J'ai vu le dieu Bacchus"),^[53] 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 ("La la la. Le menuet n'est vraiment si charmant"). Things liven upwards as the most famous number in the opera, the "Galop infernal", begins, and all present throw themselves into it with wild abandon ("Ce bal est original").^[54]

Ominous violin music heralds the approach of Orphée (Entrance of Orphée and Public Opinion),^[55] merely Jupiter has a plan, and promises to keep Eurydice away from her married man. Every bit with the standard myth, Orphée must not look back, or he will lose Eurydice forever ("Ne regarde pas en arrière!").^[56] Public Opinion keeps a close eye on him, to go on him from cheating, but Jupiter throws a lightning bolt, making him spring and await back, and Eurydice vanishes.^[57] Amongst 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, just Pluton has had enough of Eurydice, Orphée is free of her, and all ends happily.^[58]

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 iv 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 exercise not affect the main narrative but add considerably to the length of the score.^{[n 15]} In Deed I there is an opening chorus for assembled shepherds and shepherdesses, and Orpheus has a grouping of youthful violin students, who bid him farewell at the end of the human action. In Act 2 Mercure is given a solo entrance number ("Eh hop!"). In Act 3, Eurydice has a new solo, the "Couplets des regrets" ("Ah! quelle triste destinée!"), Cupidon has a new number, the "Couplets des baisers" ("Allons, mes fins limiers"), the iii 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 past a swarm of flies.^{[59] [sixty]}

Music [edit]

The score of the opera, which formed the design for the many full-length Offenbach operas that followed, is described by Faris every bit having an "abundance of couplets" (songs with repeated verses for one or more singers), "a multifariousness of other solos and duets, several large choruses, and ii 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 every bit melodies that "jump backwards and forwards in a remarkably acrobatic style while still sounding non but smoothly lyrical, but spontaneous as well". In such upward-tempo numbers every bit the "Galop infernal", Offenbach makes a virtue of simplicity, oftentimes keeping to the aforementioned primal through most of the number, with largely unvarying instrumentation throughout.^[61] Elsewhere in the score Offenbach gives the orchestra greater prominence. In the "duo de la mouche" Jupiter's office, consisting of buzzing like a fly, is accompanied by the start and second violins playing sul ponticello, to produce a similarly buzzing sound.^[62] In Le Figaro, Gustave Lafargue remarked that Offenbach's utilize of a piccolo trill punctuated past a tap on a cymbal in the finale of the outset scene was a modern recreation of an effect invented past Gluck in his score of Iphigénie en Aulide.^{[63] [due north 16]} Wilfrid Mellers as well remarks on Offenbach'due south use of the piccolo to enhance Eurydice's couplets with "girlish giggles" on the instrument.^[64] Gervase Hughes comments on the elaborate scoring of the "ballet des mouches" [Act 3, 1874 version], and calls it "a tour de force" that could have inspired Tchaikovsky.^[65]

Opening themes of "Quand j'étais roi de Béotie", "J'ai vu le Dieu Bacchus" and the "Galop infernal", showing chief notes in common: A–C ♯ –E–C ♯ –B–A^[66]

Faris comments that in Orphée aux enfers Offenbach shows that he was a master of establishing mood by the utilize of rhythmic figures. Faris instances three numbers from the second human action (1858 version), which all are in the key of A major and use identical notes in virtually the aforementioned lodge, "but it would be hard to imagine a more than extreme difference in feeling than that betwixt the song of the King of the Boeotians and the Galop".^[67] In a 2022 study Heather Hadlock comments that for the onetime, Offenbach composed "a languid yet restless melody" over a static musette-style drone-bass accessory 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".^[68] Mellers finds that Styx'due south aria has "a desolation that touches the eye" – mayhap, he suggests, the only instance of true feeling in the opera.^[69]

In 1999 Thomas Schipperges wrote in the International Journal of Musicology that many scholars agree that Offenbach's music defies all musicological methods. He did not concord, 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 slice serves a deliberate musical dramaturgy."^[seventy] 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 composure results from Offenbach'due south intertwining of gimmicky urban musical linguistic communication with a restrained and wistful tone that is undermined and ironized without always existence entirely undone".^[71]

Orphée aux enfers was the offset of Offenbach's major works to have a chorus.^{[n 17]} In a 2022 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."^[73] 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.^{[74] [75]}

Editions [edit]

The orchestra at the Bouffes-Parisiens was small – probably about thirty players.^[59] The 1858 version of Orphée aux enfers is scored for two flutes (the 2d doubling piccolo), one oboe, ii clarinets, one bassoon, ii horns, ii cornets,^{[n 18]} one trombone, timpani, percussion (bass drum/cymbals, triangle), and strings.^[78] The Offenbach scholar Jean-Christophe Keck speculates that the cord sections consisted of at almost vi outset violins, four 2nd violins, 3 violas, four cellos, and one double bass.^[78] The 1874 score calls for considerably greater orchestral forces: Offenbach added boosted parts for woodwind, brass and percussion sections. For the premiere of the revised version he engaged an orchestra of sixty players, likewise as a military machine band of a further forty players for the procession of the gods from Olympus at the end of the 2nd deed.^[79]

The music of the 1874 revision was well received by contemporary reviewers,^{[63] [80]} but some later critics have felt the longer score, with its extended ballet sections, has occasional slow patches.^{[23] [81] [82] [n xv]} Nonetheless, some of the added numbers, particularly Cupidon'due south "Couplets des baisers", Mercure's rondo "Eh hop", and the "Policeman'due south Chorus" take gained favour, and some or all are often added to performances otherwise using the 1858 text.^{[1] [82] [83]}

For more than a century afterwards the composer's decease 1 cause of critical reservations about this and his other works was the persistence of what the musicologist Nigel Simeone has chosen "botched, butchered and bowdlerised" versions.^[59] 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 Orphée aux enfers.^[59] The Offenbach Edition Keck has afterwards published the 1874 score, and some other drawing on both the 1858 and 1874 versions.^[83]

Overture and galop [edit]

The all-time-known and much-recorded Orphée aux enfers overture^[84] is non past Offenbach, and is non part of either the 1858 or the 1874 scores. It was arranged by the Austrian musician Carl Binder (1816–1860) for the first product of the opera in Vienna, in 1860.^[84] Offenbach's 1858 score has a short orchestral introduction of 104 confined; it begins with a serenity melody for woodwind, followed past the theme of Jupiter's Act 2 minuet, in A ♭ major and segues via a mock-pompous fugue in F major into Public Opinion'south opening monologue.^[85] The overture to the 1874 revision is a 393-bar piece, in which Jupiter'south minuet and John Styx's song recur, interspersed with many themes from the score including "J'ai vu le Dieu Bacchus", the couplets "Je suis Vénus", the Rondeau des métamorphoses, the "Partons, partons" section of the Human activity 2 finale, and the Act 4 galop.^{[86] [n 19]}

Fifteen years or so afterward Offenbach's death the galop from Act 2 (or Act 4 in the 1874 version) became i of the world's most famous pieces of music,^[59] when the Moulin Rouge and the Folies Bergère adopted information technology as the regular music for their can-can. Keck has commented that the original "infernal galop" was a considerably more than spontaneous and riotous affair than the fin de siècle can-tin can (Keck likens the original to a modern rave) but the tune is now inseparable in the public mind from high-boot female can-can dancers.^[59]

Numbers [edit]

Reception [edit]

19th century [edit]

Gluck'southward and Offenbach'due south Orphées compared:
"Take us to the theatre where they're doing Orpheus."
"The Orpheus that's boring or the Orpheus that's funny?"^{[n 20]}

From the outset Orphée aux enfers divided disquisitional opinion. Janin'south furious condemnation did the work much more good than harm,^[9] and was in contrast with the laudatory review of the premiere by Jules Noriac in the Figaro-Programme, which called the piece of work, "unprecedented, first-class, outrageous, gracious, delightful, witty, amusing, successful, perfect, tuneful".^{[91] [n 21]} Bertrand Jouvin, in Le Figaro, criticised some of the cast but praised the staging – "a fantasy show, which has all the variety, all the surprises of fairy-opera".^{[93] [n 22]} The Revue et gazette musicale de Paris thought that though information technology would be incorrect to look also much in a piece of this genre, Orphée aux enfers was one of Offenbach'due south most outstanding works, with mannerly couplets for Eurydice, Aristée-Pluton and the King of Boeotia.^{[94] [n 23]} Le Ménestrel 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".^{[95] [n 24]}

Writing of the 1874 revised version, the authors of Les Annales du théâtre et de la musique said, "Orphée aux Enfers is above all a practiced show. The music of Offenbach has retained its youth and spirit. The amusing operetta of yore has become a splendid extravaganza",^{[81] [n 25]} against which Félix Clément and Pierre Larousse wrote in their Dictionnaire des Opéras (1881) that the piece is "a coarse and grotesque parody" full of "vulgar and indecent scenes" that "give off an unhealthy olfactory property".^{[96] [north 26]}

The opera was widely seen as containing thinly disguised satire of the régime of Napoleon Three,^{[ix] [97]} but the early press criticisms of the piece of work focused on its mockery of revered classical authors such as Ovid^{[n 27]} and the equally sacrosanct music of Gluck's Orfeo.^{[99] [due north 28]} Faris comments that the satire perpetrated by Offenbach and his librettists was derisive rather than difficult-hit,^[101] 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 contrary of social criticism ...The spectacle of the Olympian gods doing the cancan threatened nobody's dignity."^[102] The Emperor profoundly enjoyed Orphée aux enfers when he saw it at a control performance in 1860; he told Offenbach he would "never forget that dazzling evening".^[103]

20th and 21st centuries [edit]

After Offenbach'south decease 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".^[104] Obituarists in other countries similarly took information technology for granted that the comic operas, including Orphée, were ephemeral and would exist forgotten.^{[105] [106]} By the time of the composer's centenary, in 1919, it had been clear for some years that such predictions had been wrong.^[107] Orphée was often revived,^[108] as were several more of his operas,^[109] and criticisms on moral or musical grounds had largely ceased. Gabriel Groviez wrote in The Musical Quarterly:

The libretto of Orphée overflows with spirit and sense of humour and the score is total of sparkling wit and melodious charm. It is impossible to analyse adequately a slice wherein the sublimest idiocy and the most astonishing fancy disharmonism at every turn. ... Offenbach never produced a more complete work.^[110]

Among modern critics, Traubner describes Orphée equally "the commencement great full-length classical French operetta ... classical (in both senses of the term)", although he regards the 1874 revision equally "overblown".^[23] Peter Gammond writes that the public appreciated the frivolity of the work while recognising that information technology is rooted in the best traditions of opéra comique.^[111] Amid 21st-century writers Bernard Kingdom of the netherlands has commented that the music is "beautifully made, relentlessly cheerful, reluctantly serious", only does non bear witness as the later Tales of Hoffmann does "what a profoundly gifted composer Offenbach actually was";^[112] Andrew Lamb has commented that although Orphée aux enfers has remained Offenbach'southward best-known work, "a consensus as to the all-time of his operettas would probably adopt La vie parisienne for its sparkle, La Périchole for its charm and La belle Hélène for its all-round brilliance".^[113] Kurt Gänzl writes in The Encyclopedia of the Musical Theatre that compared with before efforts, Orphée aux enfers was "something on a different scale ... a gloriously imaginative parody of classic mythology and of modern events decorated with Offenbach'southward most laughing bouffe music."^[114] In a 2022 study of parody and caricatural in Orphée aux enfers, Hadlock writes:

With Orphée aux enfers, the genre nosotros now know equally operetta gathered its forces and leapt forward, while still retaining the quick, concise manner of its i-Act predecessors, their absurdist and risqué sensibility, and their economy in creating maximum comic impact with limited resources. At the aforementioned time, it reflects Offenbach's desire to institute himself and his company every bit legitimate heirs of the eighteenth-century French comic tradition of Philidor and Grétry.^[115]

Revivals [edit]

French republic [edit]

Jeanne Granier and Eugène Vauthier every bit Eurydice and Jupiter, 1887 – "Bel insecte à l'aile dorée"

Between the first run and the commencement Paris revival, in 1860, the Bouffes-Parisiens visitor toured the French provinces, where Orphée aux enfers was reported equally coming together with "immense" and "incredible" success".^[116] Tautin was succeeded as Eurydice by Delphine Ugalde when the production was revived at the Bouffes-Parisiens in 1862 and again in 1867.^[2]

The offset revival of the 1874 version was at the Théâtre de la Gaîté in 1875 with Marie Blanche Peschard every bit Eurydice.^[2] Information technology was revived once more in that location in January 1878 with Meyronnet (Orphée), Peschard (Eurydice), Christian (Jupiter), Habay (Pluton) and Pierre Grivot every bit both Mercure and John Styx,^[117] For the Exposition Universelle season subsequently that twelvemonth Offenbach revived the slice again,^[118] with Grivot every bit Orphée, Peschard equally Eurydice,^[119] the composer's old friend and rival Hervé every bit Jupiter^[120] and Léonce as Pluton.^[119] The opera was seen again at the Gaîté in 1887 with Taufenberger (Orphée), Jeanne Granier (Eurydice), Eugène Vauthier (Jupiter) and Alexandre (Pluton).^[121] At that place was a revival at the Éden-Théâtre (1889) with Minart, Granier, Christian and Alexandre.^[122]

Twentieth-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),^[123] and in 1912 with Paul Bourillon, Méaly, Guy and Prince;^[124] the Théâtre Mogador (1931) with Adrien Lamy, Manse Beaujon, Max Dearly and Lucien Muratore;^[125] the Opéra-Comique (1970) with Rémy Corazza, Anne-Marie Sanial, Michel Roux and Robert Andreozzi;^[126] 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.^[2] 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).^[127]

In December 1997 a product by Laurent Pelly was seen at the Opéra National de Lyon, where information technology was filmed for DVD, with Yann Beuron (Orphée), Natalie Dessay (Eurydice), Laurent Naouri (Jupiter) and Jean-Paul Fouchécourt (Pluton) with Marc Minkowski conducting.^[128] The production originated in Geneva, where it had been given in September – in a former hydroelectric plant used while the phase expanse of the Grand Théâtre was being renovated – past a bandage headed by Beuron, Annick Massis, Naouri, and Éric Huchet.^[129]

Continental Europe [edit]

The beginning product outside French republic is believed to have been at Breslau in Oct 1859.^[130] In December of the same year the opera opened in Prague. The piece of work was given in German at the Carltheater, Vienna, in March 1860 in a version by Ludwig Kalisch, revised and embellished past 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.^[131] Information technology was for this product that Carl Binder put together the version of the overture that is now the best known.^[59] There were revivals at the same theatre in Feb 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.^[ii] Productions followed in Warsaw, St Petersburg, and Budapest, and and so Zurich, Madrid, Amsterdam, Milan and Naples.^[130]

Gänzl mentions among "countless other productions ... a big and glitzy German revival under Max Reinhardt" at the Großes Schauspielhaus, Berlin in 1922.^{[22] [n 29]} A more recent Berlin production was directed by Götz Friedrich in 1983;^[132] a video of the production was released.^[133] 2022 productions include those directed past Helmut Baumann at the Vienna Volksoper,^[134] 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-product betwixt the Salzburg Festival, Komische Oper Berlin and Deutsche Oper am Rhein.^[135]

Britain [edit]

Programme for the 1876 London production, given in English language despite the French title

The commencement London product of the work was at Her Majesty's Theatre in December 1865, in an English version past J. R. Planché titled Orpheus in the Haymarket.^{[136] [n 30]} There were W End productions in the original French in 1869 and 1870 by companies headed past Hortense Schneider.^{[137] [138] [n 31]} English language versions followed past Alfred Thompson (1876) and Henry Southward. Leigh (1877).^{[139] [140] [n 32]} An adaptation by Herbert Beerbohm Tree and Alfred Noyes opened at His Majesty's in 1911.^{[141] [n 33]} The opera was not seen again in London until 1960, when a new adaptation by Geoffrey Dunn opened at Sadler'southward Wells Theatre;^{[142] [n 34]} this production past Wendy Toye was oft revived between 1960 and 1974.^[143] An English language version by Snoo Wilson for English language National Opera (ENO), mounted at the London Coliseum in 1985,^[144] was revived there in 1987.^[145] A co-production by Opera North and the D'Oyly Card Opera Company in a version by Jeremy Sams opened in 1992 and was revived several times.^[146] In 2022 ENO presented a new product directed past Emma Rice, which opened to unfavourable reviews.^[147]

Exterior Europe [edit]

The first New York production was at the Stadt Theater, in German, in March 1861; the product ran until Feb 1862. Two more than 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.^[2] The opera was produced at the Theatre Français in Jan 1867 with Elvira Naddie, and at the 5th Avenue Theatre in Apr 1868 with Lucille Tostée. In December 1883 it was produced at the Bijou Theatre with Max Freeman, Marie Vanoni, Digby Bell and Harry Pepper.^[2] There were productions in Rio de Janeiro in 1865, Buenos Aires in 1866, Mexico City in 1867 and Valparaiso in 1868.^[130] The opera was kickoff staged in Australia at the Princess Theatre, Melbourne in March 1872, in Planché's London text, with Alice May as Eurydice.^[148]

A spectacular production past Reinhardt was presented in New York in 1926.^[149] The New York Metropolis Opera staged the work, conducted by Erich Leinsdorf, in 1956, with Sylvia Stahlman as Eurydice and Norman Kelley as Pluto.^[150] More recent US productions accept included a 1985 version by Santa Fe Opera,^[151] and the 1985 ENO version, which was staged in the US by the Houston 1000 Opera (co-producers) in 1986, and Los Angeles Opera in 1989.^[152]

21st century worldwide [edit]

In April 2022 the Operabase website recorded 25 past or scheduled productions of the opera from 2022 onwards, in French or in translation: nine in Deutschland, four in France, two in U.k., ii in Switzerland, 2 in the United states, and productions in Gdańsk, Liège, Ljubliana, Malmö, Prague and Tokyo.^[153]

Recordings [edit]

Audio [edit]

In French [edit]

In that location are 3 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.^[154] 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).^[155] 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).^[156]

In English [edit]

As at 2022 the only recording of the full work made in English language 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 language text is by Jeremy Sams.^[157] Extended excerpts were recorded of ii before productions: Sadler's Wells (1960), conducted by Alexander Faris, with June Bronhill as Eurydice and Eric Shilling as Jupiter;^[158] and English National Opera (1985), conducted past Mark Elder, with Stuart Kale (Orpheus), Lillian Watson (Eurydice), Richard Angas (Jupiter) and Émile Belcourt (Pluto).^[159]

In German [edit]

There have been 3 full-length recordings in German. The first, recorded in 1958, features the North High 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.^[160] 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).^[161] 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).^[162]

Video [edit]

Recordings accept 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),^[163] and Laurent Pelly's production from the aforementioned year, with Natalie Dessay (Eurydice), Yann Beuron (Orphée), Laurent Naouri (Jupiter) and Jean-Paul Fouchécourt (Pluton).^[128] A version in English fabricated 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).^[164] The Berlin product by Friedrich was filmed in 1984 and has been released as a DVD;^[133] a DVD of the Salzburg Festival production directed past Kosky was published in 2019.^[165]

Notes, references and sources [edit]

Notes [edit]

1. ^ The original sketch contained only four characters, Jupiter, Pluton, Eurydice and Proserpine.^[v]
2. ^ Halévy, mindful of his reputation as a senior government official, contributed anonymously though extensively to the final version of the text. Offenbach and Crémieux dedicated the piece of work to him.^[6]
3. ^ Ovid's and Gluck's Orpheus, the son of Apollo, plays the lyre; Crémieux makes him a rustic violin instructor.^[7]
4. ^ Janin's article was published on vi December 1858;^{[10] [11] [12]} Crémieux'south riposte was published in Le Figaro on 12 December 1858.^[11] Alexander Faris and Richard Traubner incorrectly engagement the events to the following February.^[13]
5. ^ Peter Gammond (1980) adds that the public kept sneaking into the theatre, hoping not to be seen by anyone they knew.^[15]
6. ^ "parce que les acteurs, qui n'avaient pu fatiguer le public, étaient eux-mêmes exténués".^[17]
7. ^ The production took one,784,683 francs at the box role,^[xx] roughly equivalent in 2022 terms to €7,234,820.^[21]
8. ^ This interlude consisted of 10 tableaux, including "Toads and Chinese fish", "Prawns and shrimps", "March of the Tritons", "Ocean-horses' polka", "Pas de trois for seaweed", and "Pas de quatre for flowers and flying fish".^[22]
9. ^ According to The Penguin Opera Guide the running fourth dimension of the 1858 version is one 60 minutes 45 minutes, and that of the 1874 revision 2 hours 45 minutes.^[23]
10. ^ The characters' tessiture are as indicated in the 2002 edition of the orchestral score; Offenbach, writing with particular performers in heed, seldom stipulated a vocal range in his manuscripts.^[24]
11. ^ The role of Morphée appears in the earliest version of Oprhée aux enfers, just Offenbach cut it earlier the first performance. There were two other roles, Hébé and Cybèle, that the composer cut.^[24]
12. ^ The function and player are non listed in Crémieux's published libretto or the 1859 vocal score. Faris mentions a scene cut in February 1859 during the outset run.^[14] In his review in Le Ménestrel of the October 1858 premiere Alexis Dureau included in his plot summary a scene in which Jupiter gets Cerberus and Charon drunk so that he tin can smuggle Eurydice out of the Underworld.^[vii] This scene is not in the printed libretto.^[27]
13. ^ In their plot summary in Gänzl'due south Book of Musical Theatre, Kurt Gänzl and Andrew Lamb write "she gets an asp in the talocrural joint".^[32]
14. ^ In the 1874 revision a 3rd verse is added for Mars, likewise returning from a night on the tiles.^[37]
15. ^ ^{a b} The 1858 version of the vocal score runs to 147 pages; the 1874 song score issued past the same firm is 301 pages long.^[59]
16. ^ "l'effet du groupetto de petite flûte et le coup de cymbale … qui renouavelle un effet invente par Gluck dans sa sectionalization d'Iphigénie en Aulide.^[63]
17. ^ There were choruses in his before comedy pieces Ba-ta-clan (1855) and Mesdames de la Halle (1858).^[72]
18. ^ Offenbach specified cornets in this score; in other operas, such equally La Grande-Duchesse de Gérolstein he wrote for trumpets.^[76] In modern theatre orchestras cornet parts are ofttimes played on trumpets.^[77]
19. ^ Both of Offenbach's overtures are shorter than Binder's, the 1858 introduction peculiarly so: it plays for 3m 6s in the EMI recording conducted by Marc Minkowski.^[87] The 1874 overture, reconstructed by Keck, plays for 8m 47s in a recording past Les Musiciens du Louvre conducted past Minkowski.^[88] In recordings of Binder'south arrangement conducted by René Leibowitz, Ernest Ansermet, Neville Marriner and Herbert von Karajan the playing time is betwixt ix and 10 minutes.^[89]
20. ^ "C'est-y l'Orphée oùs'qu'on s'embête, ou 50'Orphée oùs'quon rigole?"^[90]
21. ^ "Inouï, Splendide, Ébouriffant, Gracieux, Charmant, Spirituel, Amusant, Réussi, Parfait, Mélodieux." Noriac printed each word on a new line for emphasis.^[92]
22. ^ "Une fantaisie à grand spectacle, qui a toute la variété, toutes les surprises de fifty'opéra-féerie."^[93]
23. ^ "une des productions les plus distinguées de son auteur, Jacques Offenbach ... c'est le tort de la pièce que d'en exiger trop de ce genre ... On y trouve de charmants couplets chantés par Eurydice et Aristée ou Pluton; ceux du ... Roi de Béotie sont excellents."^[94]
24. ^ "Quant aux acteurs des Bouffes, ils sont ... des originaux pur sang. ... ils accompagnent à merveille toutes les drôleries charmantes, toutes les originalités délicieuses, toutes les singularités bouffonnes jetées à profusion dans les partitions d'Offenbach".^[95]
25. ^ "Bref, Orphée aux Enfers est surtout united nations fellow spectacle. La musique d'Offenbach a conservé sa jeunesse et son esprit. L'amusante opérette de jadis est devenue une magnifique féerie".^[81]
26. ^ "une parodie grossière et grotesque ...scènes les plus grotesques et les plus indécentes ...une odeur malsaine".^[96]
27. ^ One of Offenbach's biographers, Siegfried Kracauer, suggests that critics similar Janin shied away from confronting the political satire, preferring to accuse Offenbach of disrespect of the classics.^[98]
28. ^ Gluck was not the only composer whom Offenbach parodied in Orphée aux enfers: Auber'southward venerated opera La muette de Portici is also quoted in the scene where the gods rebel confronting Jupiter,^[100] as is La Marseillaise – a risky venture on the composer's part as the vocal was banned under the Second Empire equally a "chant séditieux".^[seventy]
29. ^ Gänzl notes that initially other Offenbach operas were more popular in other countries – La belle Hélène in Austria and Hungary, Geneviève de Brabant in Britain and La Grande-Duchesse de Gérolstein in the Us – Orphée was always the favourite in Germany.^[22]
30. ^ This production featured David Fisher (Orpheus), Louise Keeley (Eurydice), William Farren (Jupiter) and (Thomas?) Bartleman (Pluto).^[136]
31. ^ In the 1869 cast at the St James's Theatre, Schneider appeared with M. Beance (Orphée), 50. Desmonts (Jupiter) and José Dupuis (Pluton);^[137] in 1870, at the Princess'south Theatre, she appeared with Henri Tayau (Orphée), Grand. Desmonts (Jupiter) and Thou. Carrier (Pluton).^[138]
32. ^ These productions were at Royalty Theatre and the Alhambra Theatre, and featured, respectively, Walter Fisher (Orpheus), Kate Santley (Eurydice), J. D. Stoyle (Jupiter) and Henry Hallam (Pluto),^[139] and M. Loredan (Orpheus), Kate Munroe (Eurydice), Harry Paulton (Jupiter) and W. H. Woodfield (Pluto).^[140]
33. ^ The 1911 production had boosted music past Frederic Norton, and featured Courtice Pounds (Orpheus), Eleanor Perry (Eurydice), Frank Stanmore (Jupiter) and Lionel Mackinder (Pluto).^[141]
34. ^ The 1960 production featured Kevin Miller (Orpheus), June Bronhill (Eurydice), Eric Shilling (Jupiter) and Jon Weaving (Pluto).^[142]

References [edit]

1. ^ ^{a b c} Lamb, Andrew. "Orphée aux enfers", Grove Music Online, Oxford University Press, 2002. Retrieved 27 April 2019 (subscription required)
2. ^ ^{a b c d due east f g} Gänzl and Lamb, p. 276
3. ^ ^{a b} Gammond, p. 49
4. ^ Teneo, Martial. "Jacques Offenbach: His Centenary" Archived fifteen August 2022 at the Wayback Machine, The Musical Quarterly, January 1920, pp. 98–117
5. ^ ^{a b} Luez, p. 106
6. ^ Kracauer, p. 173; and Faris, pp. 62–63
7. ^ ^{a b} Dureau, Alexis. "Théâtre des Bouffes-Parisiens", Le Ménestrel, 24 October 1859, p. 3 (in French)
8. ^ Gammond, p. 49; and Yon, p. 213
9. ^ ^{a b c d} Gammond, p. 54
10. ^ "Feuilleton du Journal des débats", Journal des débats politiques et littéraires, half-dozen Dec 1858, p. ane (in French)
11. ^ ^{a b} "Correspondance", Le Figaro, 12 December 1858, p. 5 (in French)
12. ^ Hadlock, p. 177; and Yon, pp. 211–212
13. ^ Faris, p. 71; and Traubner (2003), p. 32
14. ^ ^{a b} Faris, p. 71
15. ^ Gammond, p. 53
16. ^ "Edmond Audran" Archived 30 March 2022 at the Wayback Auto, Opérette – Théâtre Musical, Académie Nationale de l'Opérette (in French). Retrieved 16 April 2019
17. ^ ^{a b c} "Orphée aux enfers" Archived 2 September 2022 at the Wayback Machine, Encyclopédie de fifty'art lyrique français, Association l'art lyrique français (in French). Retrieved 26 Apr 2019
18. ^ "Le succès au théâtre", Le Figaro, 23 August 1891, p. 2
19. ^ ^{a b} "Orphée aux enfers" Archived 21 April 2022 at the Wayback Machine, Opérette – Théâtre Musical, Académie Nationale de l'Opérette (in French). Retrieved 21 April 2019
20. ^ "The Drama in Paris", The Era, 29 Baronial 1891, p. nine
21. ^ "Historical currency converter" Archived xv Baronial 2022 at the Wayback Motorcar, Historicalstatistics.org. Retrieved 21 April 2019
22. ^ ^{a b c} Gänzl, p. 1552
23. ^ ^{a b c} Traubner (1997), pp. 267–268
24. ^ ^{a b} Offenbach-Keck, p. 6
25. ^ Offenbach (1859), unnumbered introductory page; and Crémieux, p. seven
26. ^ Offenbach (1874), unnumbered introductory page
27. ^ Crémieux, pp. 84–92
28. ^ Crémieux, pp. 10–11
29. ^ Crémieux, pp. xi–12
30. ^ Crémieux, pp. 15–18
31. ^ Crémieux, pp. 21–22
32. ^ Gänzl and Lamb, p. 278
33. ^ Crémieux, p. 27
34. ^ Crémieux, pp. 29–29
35. ^ Crémieux, p. 29
36. ^ Crémieux, pp. 30–32
37. ^ Offenbach (1874) pp. 107–109
38. ^ Crémieux, p. 35
39. ^ Crémieux, p. 36
40. ^ Crémieux, p. 37
41. ^ Crémieux, pp. 44–45
42. ^ Crémieux, pp. 48–52
43. ^ Crémieux, pp. 53–54
44. ^ Crémieux, pp. 58–60
45. ^ Crémieux, pp. 65–67
46. ^ Offenbach (1859), p. 73
47. ^ Crémieux, pp. 68–69
48. ^ Iversen, Paul A. "The Small and Corking Daidala in Boiotian History", Historia: Zeitschrift Für Alte Geschichte, 56, no. 4 (2007), p. 381 (subscription required)
49. ^ Crémieux, p. 75
50. ^ Crémieux, pp. 84–88
51. ^ Crémieux, pp. 89–xc
52. ^ Crémieux, p. 95
53. ^ Crémieux, p. 96
54. ^ Crémieux, p. 98
55. ^ Crémieux, p. 103
56. ^ Crémieux, p. 105
57. ^ Crémieux, p. 106
58. ^ Crémieux, p. 107
59. ^ ^{a b c d e f g h} Simeone, Nigel. "No Looking Back", The Musical Times, Summer, 2002, pp. 39–41 (subscription required)
60. ^ Notes to EMI LP set SLS 5175 (1979) OCLC 869200562
61. ^ Faris, pp. 66–67 and 69
62. ^ Offenbach-Keck, pp. 227–229.
63. ^ ^{a b c} Lafargue, Gustave. "Chronique musicale", Le Figaro, 10 Feb 1874, p. 3 (in French)
64. ^ Mellers, p. 139
65. ^ Hughes (1962), p. 38
66. ^ Simplified version of illustration in Faris, pp. 68–69
67. ^ Faris, pp. 68–69
68. ^ Hadlock, pp. 167–168
69. ^ Mellers, p. 141
70. ^ ^{a b} Schipperges, Thomas. "Jacques Offenbach'due south Galop infernal from Orphée aux enfers. A Musical Assay", International Journal of Musicology, Vol. 8 (1999), pp. 199–214 (abstruse in English to commodity in German) (subscription required)
71. ^ Hadlock, p. 164
72. ^ Harding, pp. 90–91.
73. ^ Cummins, Melissa. "Use of Parody Techniques in Jacques Offenbach's Opérettes", University of Kansas, 2017, p. 89. Retrieved 29 April 2019
74. ^ Offenbach-Keck, pp. 87–88
75. ^ Harris, Ellen T. "Bocca chiusa", Grove Music Online, Oxford Academy Press, 2001. Retrieved 29 Apr 2019 (subscription required)
76. ^ Schuesselin, John Christopher. "The use of the cornet in the operettas of Gilbert and Sullivan", LSU Digital Commons, 2003, p. iv
77. ^ Hughes (1959), pp. 111–112
78. ^ ^{a b} Offenbach-Keck, p. 7
79. ^ Faris, pp. 169–170
80. ^ Moreno, H. Orphée aux enfers", 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, xv February 1874, p. x
81. ^ ^{a b c} Noël and Stoullig (1888), p. 291
82. ^ ^{a b} Lamb, Andrew. "Orphée aux enfers", The Musical Times, Oct 1980, p. 635
83. ^ ^{a b} "Offenbach–Keck: Orphée aux Enfers (OEK critical edition: 1858/1874 mixed version)", Boosey & Hawkes. Retrieved 19 April 2019
84. ^ ^{a b} Gammond, p. 69
85. ^ Offenbach-Keck, pp. xi–17
86. ^ Offenbach 1874, pp. one–16
87. ^ Notes to EMI CD set 0724355672551 (2005) OCLC 885060258
88. ^ Notes to Deutsche Grammophon CD ready 00028947764038 (2006) OCLC 1052692620
89. ^ 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 prepare 00028947427520 (2003) OCLC 950991848
90. ^ Quoted in notes to EMI LP set SLS 5175
91. ^ Quoted in Faris, pp. 69–70
92. ^ Faris, pp. 69–70
93. ^ ^{a b} Yon, p. 212
94. ^ ^{a b} Smith, p. 350
95. ^ ^{a b} Yon, pp. 212–213
96. ^ ^{a b} Clément and Larousse, pp. 503–504
97. ^ Munteanu Dana. "Parody of Greco-Roman Myth in Offenbach'southward Orfée aux enfers and La belle Hélène", Syllecta Classica 23 (2013), pp. 81 and 83–84 (subscription required)
98. ^ Kracauer, p. 177
99. ^ Gammond, p. 51
100. ^ Senelick, p. 40
101. ^ Faris, p. 176
102. ^ Taruskin, p. 646
103. ^ Faris, p. 77
104. ^ Faris, p. 219
105. ^ Obituary, The Times, 6 Oct 1880, p. 3
106. ^ "Jacques Offenbach expressionless – The end of the nifty composer of opera bouffe" Archived 5 March 2022 at the Wayback Machine The New York Times, 6 October 1880
107. ^ Hauger, George. "Offenbach: English Obituaries and Realities", The Musical Times, Oct 1980, pp. 619–621 (subscription required) Archived 6 March 2022 at the Wayback Machine
108. ^ Noël and Stoullig (1888), p. 287 and (1890), p. 385; Stoullig, p. 225; and "Courrier des Spectacles", Le Gaulois: littéraire et politique, x May 1912, p. ane (all in French)
109. ^ Gänzl and Lamb, pp. 286, 296, 300 and 306
110. ^ Grovlez, Gabriel. "Jacques Offenbach: A Centennial Sketch" Archived 9 August 2022 at the Wayback Machine, The Musical Quarterly, July 1919, pp. 329–337
111. ^ Gammond, pp. 55–56
112. ^ Holland, Bernard. "A U.P.Due south. Man Joins Offenbach's Gods and Goddesses" Archived 23 April 2022 at the Wayback Motorcar, The New York Times, 18 Nov 2006, p. B14
113. ^ Lamb, Andrew. "Offenbach, Jacques", Grove Music Online, Oxford University Printing, 2001. Retrieved 26 Apr 2019. (subscription required) Archived i April 2022 at the Wayback Machine
114. ^ Gänzl, p. 1514
115. ^ Hadlock, p. 162
116. ^ "Music and Theatres in Paris", The Musical World, 1 September 1860, p. 552; and "Petit Journal", Le Figaro, 20 September 1860, p. seven (in French)
117. ^ Noël and Stoullig (1879), p. 354
118. ^ Gammond, pp. 124–125
119. ^ ^{a b} Noël and Stoullig (1879), p. 364
120. ^ Yon, p. 581, and Gammond, p. 124
121. ^ Noel and Stoullig (1888), p. 287
122. ^ Noël and Stoullig (1890), p. 385
123. ^ Stoullig, p. 225
124. ^ "Courrier des Spectacles", Le Gaulois: littéraire et politique, 10 May 1912, p. i (in French)
125. ^ "Orphée aux enfers au Théâtre Mogador", Le Figaro, 22 Dec 1931, p. 6 (in French)
126. ^ "Orphée aux enfers", Bibliothèque nationale de France. (in French) Retrieved 26 April 2019
127. ^ De Brancovan, Mihai. "La Vie Musicale" Revue des Deux Mondes, March 1988, pp. 217–218 (in French) (subscription required)
128. ^ ^{a b} "Orphée aux enfers" Archived 23 April 2022 at the Wayback Machine, WorldCat. Retrieved 23 April 2019. OCLC 987620990
129. ^ Kasow, J. "Massis'due south Eurydice – study from Geneva", Opera, January 1998, pp. 101–102
130. ^ ^{a b c} Gammond, p. 72
131. ^ 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) (subscription required)
132. ^ Holloway, Ronald. "The Arts: Orpheus in the Underworld/Berlin", The Financial Times, 29 Dec 1983, p. 5 (subscription required)
133. ^ ^{a b} Orpheus in der Unterwelt, Worldcat. Retrieved 9 May 2019. OCLC 854864814
134. ^ "Orpheus in der Unterwelt", Volksoper, Vienna. Retrieved 21 April 2019
135. ^ "Orphée aux enfers", Salzburg Festival. Retrieved 21 April 2019
136. ^ ^{a b} "Haymarket", The Athenaeum, xxx December 1865, p. 933
137. ^ ^{a b} "The London Theatres", The Era, eighteen July 1869, p. 11
138. ^ ^{a b} "Princess's Theatre", The Morn Mail, 23 June 1870, p. 6
139. ^ ^{a b} "The Royalty", The Era, 31 December 1876, p. 12
140. ^ ^{a b} "Alhambra Theatre", The London Reader, 26 May 1877, p. 76
141. ^ ^{a b} "Dramatic Gossip", The Archives, 23 December 1911, p. 806
142. ^ ^{a b} Bricklayer, Colin. "Jolly proficient fun", The Guardian, 19 May 1960, p. 11
143. ^ "A Modernistic Orpheus", The Times, 18 May 1960, p.18; "Racy Product of Orpheus", The Times, xv 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 proper noun", The Times, 4 January 1974, p. 8
144. ^ Gilbert, pp. 372–373
145. ^ Hoyle, Martin. "British Opera Diary: Orpheus in the Underworld. English National Opera at the London Coliseum, May 2", Opera, July 1987, p. 184
146. ^ Higgins, John. "A midsummer dark'due south pantomime", The Times, 23 June 1992, p. 2[S]; and Milnes, Rodney. "All down to a hell of a expert snigger", The Times, 22 March 1993, p. 29
147. ^ Canning, Hugh. "Vulgar down beneath", The Dominicus 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'southward ENO debut is too earnest and not funny enough", The Times, 7 October 2019, p. eleven; Jeal, Erica. "Orpheus in the Underworld", The Guardian, half-dozen Oct 2019, p. 11; Christiansen, Rupert. "Orpheus falls victim to the curse of the Coli", The Daily Telegraph, vii October 2019, p. 24; and Hall, George, "Orpheus in the Underworld review at London Coliseum – Emma Rice's misjudged production", The Stage, vi Oct 2019.
148. ^ "The Opera", The Argus, i Apr 1872, p. 2
149. ^ "The Miracle Revival", The New York Times, 4 April 1929, p. 23
150. ^ Taubman, Howard. "Opera", The New York Times, 21 September 1956, p. 31
151. ^ Dierks, Donald. "SFO has romp with 'Orpheus'", The San Diego Union, 3 Baronial 1985 (subscription required)
152. ^ Gregson, David. "'Orpheus' is infernal fun, simply overdone", The San Diego Union, 17 June 1989, p. C-8 (subscription required)
153. ^ "Offenbach" Archived 19 March 2022 at the Wayback Machine, Operabase. Retrieved 21 Apr 2019
154. ^ "Orphée aux enfers" Archived 23 April 2022 at the Wayback Machine, WorldCat. Retrieved 23 Apr 2022 OCLC 611370392
155. ^ "Orphée aux enfers" Archived 23 Apr 2022 at the Wayback Motorcar, WorldCat. Retrieved 23 Apr 2022 OCLC 77269752
156. ^ "Orphée aux enfers" Archived 23 April 2022 at the Wayback Machine, WorldCat. Retrieved 23 Apr 2022 OCLC 809216810
157. ^ "Orpheus in the Underworld" Archived sixteen Apr 2022 at the Wayback Automobile, WorldCat. Retrieved 23 April 2019. OCLC 162231323
158. ^ "Orpheus in the Underworld" Archived xvi April 2022 at the Wayback Motorcar, WorldCat. Retrieved 23 Apr 2019.OCLC 223103509
159. ^ "Orpheus in the Underworld" Archived 16 April 2022 at the Wayback Motorcar, WorldCat. Retrieved 23 Apr 2019.OCLC 973664218
160. ^ "Orphée aux Enfers: sung in German" Archived 23 April 2022 at the Wayback Machine, WorldCat. Retrieved 23 Apr 2022 OCLC 762494356
161. ^ "Orpheus in der Unterwelt: buffoneske Oper in zwei Akten (vier Bildern)" Archived 23 April 2022 at the Wayback Machine, WorldCat. Retrieved 23 April 2022 OCLC 938532010
162. ^ "Orpheus in der Unterwelt" Archived 23 April 2022 at the Wayback Machine. WorldCat. Retrieved 23 April 2022 OCLC 854864814
163. ^ "Orphée aux enfers" Archived 23 April 2022 at the Wayback Machine, WorldCat. Retrieved 23 April 2022 OCLC 156744586
164. ^ "Orpheus in the Underworld" Archived 23 April 2022 at the Wayback Machine, WorldCat. Retrieved 23 April 2019. OCLC 742448334
165. ^ WorldCat OCLC 1121483592

Sources [edit]

• Clément, Félix; Pierre Larousse (1881). Dictionnaire des opéras (Dictionnaire lyrique) (in French). Paris: Larousse. OCLC 174469639.
• Crémieux, Hector (1860). Orphée aux enfers: libretto (in French). Paris: Bourdilliat. OCLC 717856068.
• Faris, Alexander (1980). Jacques Offenbach. London: Faber & Faber. ISBN978-0-571-11147-3.
• Gammond, Peter (1980). Offenbach. London: Omnibus Press. ISBN978-0-7119-0257-two.
• Gänzl, Kurt (2001). The Encyclopedia of the Musical Theatre (second ed.). New York: Schirmer. ISBN978-0-02-864970-2.
• Gänzl, Kurt; Andrew Lamb (1988). Gänzl'due south Book of the Musical Theatre. London: The Bodley Caput. OCLC 966051934.
• Gilbert, Susie (2009). Opera for Everybody. London: Faber and Faber. ISBN978-0-571-22493-7.
• Hadlock, Heather (2014). "Ce bal est original!: Classical Parody and Burlesque in Orphée aux Enfers". In Sabine Lichtenstein (ed.). Music'due south Obedient Daughter: the Opera Libretto from Source to Score. Amsterdam: Rodopi. ISBN978-90-420-3808-0.
• Harding, James (1979). Folies de Paris: The Rise and Fall of French Operetta . London: Chappell. ISBN978-0-903443-28-nine.
• Hughes, Gervase (1959). The Music of Arthur Sullivan. London: Macmillan. OCLC 500626743.
• Hughes, Gervase (1962). Composers of Operetta. London: Macmillan. OCLC 868313857.
• Kracauer, Siegfried (1938). Orpheus in Paris: Offenbach and the Paris of his Time. New York: Knopf. OCLC 639465598.
• Luez, Philippe (2001). Jacques Offenbach: musicien européen (in French). Biarritz: Séguier. ISBN978-2-84049-221-4.
• Mellers, Wilfrid (2008). The Masks of Orpheus: Seven Stages in the Story of European Music. London: Travis and Emery. ISBN978-1-904331-73-5.
• Offenbach, Jacques (1859). Orphée aux enfers: Opéra bouffon en deux actes et quatre tableaux: vocal score (PDF) (in French). Paris: Huegel. OCLC 352348784.
• Offenbach, Jacques (1874). Orphée aux enfers: Opéra-féerie en quatre actes et douze tableaux: vocal score (in French). Paris: Menestrel. OCLC 20041978.
• Offenbach, Jacques; Jean-Christophe Keck (2002). Orphée aux enfers, 1858 version: orchestral score (in French). Berlin: Boosey and Hawkes. ISBN978-iii-7931-1988-3.
• Noël, Édouard; Edmond Stoullig (1879). Les Annales du Théâtre et de la Musique, 1878 (in French). Paris: Charpentier. OCLC 983267831.
• Noël, Édouard; Edmond Stoullig (1888). Les Annales du Théâtre et de la Musique, 1887 (in French). Paris: Charpentier. OCLC 1051558946.
• Noël, Édouard; Edmond Stoullig (1890). Les Annales du Théâtre et de la Musique, 1889 (in French). Paris: Charpentier. OCLC 762327066.
• Senelick, Laurence (2017). Jacques Offenbach and the Making of Modern Civilisation. Cambridge: Cambridge University Press. ISBN978-0-521-87180-8.
• Smith, John (1859). "Orphée aux enfers". Revue et Gazette musicale de Paris (in French). Paris: Revue et Gazette musicale. OCLC 983118707.
• Stoullig, Edmond (1903). Les Annales du Théâtre et de la Musique, 1902 (in French). Paris: Ollendorf. OCLC 762311617.
• Taruskin, Richard (2010). The Oxford History of Western Music. iii: Music in the Nineteenth Century. Oxford: Oxford University Press. ISBN978-019-538483-3.
• Traubner, Richard (1997). "Jacques Offenbach". In Amanda Holden (ed.). The Penguin Opera Guide. London: Penguin. ISBN978-0-xiv-051385-1.
• Traubner, Richard (2003). Operetta: A Theatrical History (2d ed.). London: Routledge. ISBN978-0-415-96641-2.
• Yon, Jean-Claude (2000). Jacques Offenbach (in French). Paris: Gallimard. ISBN978-ii-07-074775-vii.

External links [edit]

sotodellittef.blogspot.com

Source: https://en.wikipedia.org/wiki/Orpheus_in_the_Underworld

Share this post