Orphée aux enfers

The composer had been wanting to write a parody of ancient Greek tragedy for some time, but his librettists had been hampered by the theatrical privilege which had weighed heavily on the Bouffes-Parisiens since its opening in 1855. Until the premiere of Mesdames de la Halle, several months before that of Orphée, Offenbach could not in fact write anything for more than four characters. After this constraint was lifted, Crémieux set to work again (without Halévy, who was serving in Algeria). The composer also became involved in the writing of the libretto, as well as in the design of the stage sets. The end result was a work of epic proportions which became the first high point in Offenbach’s operatic output. A violin teacher in Thebes, Orphée courts a great many nymphs and has a difficult relationship with his wife Eurydice, who is planning to deceive him with the shepherd, Aristée. This latter, however, is none other than Pluto, the god of Hell. To Orphée’s great satisfaction, Eurydice dies. However, Public Opinion enjoins the hero to rescue Eurydice from the kingdom of the dead. Through this parody of the myth of Orpheus, Offenbach was providing a moral critique of contemporary society, condemning its hypocrisy and its pursuit of pleasure at any price. In this work, the composer perfected the style which was also to secure the success of La Belle Hélène, La Vie parisienne and La Périchole: a skilful fusion of theatre and music as well as a blend of serious and frivolous elements. Popularised by its “Galop infernal”, which became the principal theme of the French cancan, Orphée is one  of the masterpieces of the French opera repertoire.