The music has certainly fled from the marriage of Eurydice and Orpheus, who have grown to despise each other. He lusts after the local nymphs, she has an affair with a strapping shepherd. Sadly, the shepherd is none other than the god Pluto in disguise. Before you can say "This does not sound too healthy", Eurydice is whisked off to the Underworld. Her widower exults, but runs afoul of Public Opinion...
In "Orphée aux enfers", Offenbach and his accomplices poke fun at two key institutions of French society, namely marriage and adultery. The work also functions as a rather deadly satire, both of Ancient Greek mythology and of contemporary French politics. Surely there is nothing in the behavior of these lazy, sensual and hypocritical "A-list gods" that suggests a sense of decency or a regard for the common citizen. This is a decadent ruling class out to enjoy itself, taxpayers be damned... Last but not least Offenbach's opéra bouffe parodies the work of earlier composers, most notably the unfortunate Gluck.
Now this "Orphée aux enfers" is an excellent production : sassy, sexy, frothy and impertinent. From the beginning to the "infernal galop" this is inventive, subversive fun. Soprano Natalie Dessay sings and acts her heart out as Eurydice, while showing a remarkable chemistry with Laurent Naouri, who makes for a most seductive Jupiter/Jupin. Unless I'm mistaken both singers are married in real life. Tall and handsome, Naouri is a "mouche" I wouldn't mind discovering in my own humble abode...
(It is said that the fly duet is a direct reference to Napoléon III and his imperial bees, but this is a matter I leave to the specialists.)
Comes with the fastest rendition of the "Hymn to Bacchus" I've ever heard.
In "Orphée aux enfers", Offenbach and his accomplices poke fun at two key institutions of French society, namely marriage and adultery. The work also functions as a rather deadly satire, both of Ancient Greek mythology and of contemporary French politics. Surely there is nothing in the behavior of these lazy, sensual and hypocritical "A-list gods" that suggests a sense of decency or a regard for the common citizen. This is a decadent ruling class out to enjoy itself, taxpayers be damned... Last but not least Offenbach's opéra bouffe parodies the work of earlier composers, most notably the unfortunate Gluck.
Now this "Orphée aux enfers" is an excellent production : sassy, sexy, frothy and impertinent. From the beginning to the "infernal galop" this is inventive, subversive fun. Soprano Natalie Dessay sings and acts her heart out as Eurydice, while showing a remarkable chemistry with Laurent Naouri, who makes for a most seductive Jupiter/Jupin. Unless I'm mistaken both singers are married in real life. Tall and handsome, Naouri is a "mouche" I wouldn't mind discovering in my own humble abode...
(It is said that the fly duet is a direct reference to Napoléon III and his imperial bees, but this is a matter I leave to the specialists.)
Comes with the fastest rendition of the "Hymn to Bacchus" I've ever heard.