Orphée Aux Enfers Offenbach

This finely-focused and witty production of Jacques Offenbach’s Orphée aux Enfers with sets, costumes and lighting by the director Herbert Wernicke, is a visual and musical delight. The burlesque – conducted by Patrick Davin – is situated in a famous fin de siècle café and with a stupendous coup de théâtre the ensemble makes its entry into hell in a steam locomotive, which crashes through the ceiling. Elizabeth Vidal and Alexandru Badea in the main roles are supported energetically by the La Monnaie Symphony Orchestra and Chorus and Offenbach’s famous “can-can” is, as ever, an intoxicating highlight.

In the role of Eurydice, Natalie Dessay begins at once with a display of vocal and verbal pyrotechnics, which are then taken up by Yann Beuron as Orpheus. Together they give us an idea of the developments to follow. Dancers and singers melt into a unit. The stage setting and an unconventional choreography sparkle with inventiveness. When Pluto, for example, arrives on skis from the underworld onto Mt. Olympus and Offenbach quotes the famous can-can right in the middle of Pluto’s aria, it seems to be a parody of his own work. The production offers a wealth of material for modern interpretations of this operetta full to the brim with ironic sideswipes at morality and immorality.

Michel Plasson is one of the most important French conductors from the later twentieth and early twenty-first centuries. He is well known for his interpretations of French opera, particularly those of Gounod and Massenet. He has also received praise for his work in the choral music of Duruflé and Fauré, and the orchestral works of Magnard, Ravel, and other French composers.

The myth of Orpheus and Eurydice is one of opera's most potent archetypes, the subject of the earliest experiments in the genre by Peri and Monteverdi. But Offenbach's wickedly witty operetta uses it as a vehicle to lampoon stuffy artistic conventions as well as the social and political realities of Paris in the Second Empire. In this sublimely ridiculous scenario, Eurydice is a flighty flirt only too happy to be separated from husband Orpheus, a dullard violin teacher, when Pluto kidnaps her into his realm.

The myth of Orpheus–the divine musician who went to Hades to rescue his bride Eurydice from the dead and whose song actually persuaded Pluto to release her–has been irresistible to operatic composers from Monteverdi to Offenbach. One of the happiest rediscoveries of the Baroque revival is this lovely one-act chamber opera by Marc-Antoine Charpentier, which combines the gentle lilt typical of French Baroque music with the beautiful melodies and delicious suspensions in which Charpentier excelled. Charpentier diverged from the myth in one important respect: he omitted the tragic ending in which Orpheus loses Eurydice a second time, instead allowing the couple to live happily ever after.

He was born in Cologne, but it was in Paris that Jacques Offenbach achieved fame. A special feature of this 30-CD collection are star-studded recordings in both French and German of his most celebrated operettas – works that overflow with joie de vivre and satirical wit – and of Les Contes d’Hoffmann, an opera that daringly fuses fantasy, comedy and tragedy. It also includes irresistibly stylish performances of such tempting rarities as Les Brigands, Pomme d’Api, Monsieur Choufleuri and Mesdames de la Halle.

Soprano Jodie Devos, who has signed with Alpha for several recordings, here pays homage to Offenbach, whose bicentenary of his birth is celebrated in 2019. This programme shows Offenbach’s fascination with the vocal fireworks of coloratura divas. This kind of ‘lyric coloratura’ or ‘soprano leggero’ voice runs like a thread through most of the composer’s oeuvre, from his first pieces for two or three soloists to those grand frescoes of his maturity, La Vie parisienne, Robinson Crusoé, and Orphée aux Enfers.

The overtures to Offenbach's operettas are peculiar creations, for they were seldom written by the composer and in most cases were never intended for his theatrical productions. Offenbach found them tedious and superfluous, preferring instead to present his works without any introductory music beyond a few measures. Only two of the overtures in this collection were actually composed by Offenbach, those for La fille du tambour-major and Monsieur et Madame Denis. .

The music of Jacques Offenbach defines the intoxicating, hedonistic spirit of Paris in the mid-19th century. Above all, there is the galop infernal from Orphée aux enfers, often known simply as ‘the can-can’. That Offenbach also had a gift for lyricism is clear from his haunting, lilting Barcarolle, a highlight of his opera Les Contes d’Hoffmann. Both pieces feature in this irresistible collection of operetta, opera and orchestral music. Alongside many treasures from the Warner Classics catalogue, it contains the first-time release of Musette for cello and orchestra in performance by Edgar Moreau with Les Forces Majeures and Raphaël Merlin.