Theatre is at its best when it is challenging the establishment, and Offenbach’s Orpheus in the Underworld does just that. The Greek gods, bored with Ambrosia, take a raucous trip to the Underworld to sort out a couple’s marital problems. Euridice faces off with Public Opinion, who represents the establishment as the voice of popular morality, over the matter of her divorce. She fends off a slew of possessive would-be lovers, opting in the end to become a servant to the god of wine. The goddesses spend a delightful number poking fun at the hypocrisy of Jupiter, king of the gods, who represents politicians and political institutions.
When Offenbach and Crémieux wrote Orpheus, they were satirising the Grand Opera establishment, specifically Gluck’s Orfeo, and the scandalous society and politics of the Second French Empire under Napoleon III. Today, we’ve no shortage of modern equivalents. Public Opinion becomes the gatekeeper of Fake News, the gods stage an “Olymp-xit,” and, as this is written a few days after the election, there seems to be no shortage of political fodder ripe for satirising on stage. Just as in Offenbach’s time, satire remains an important tool for the reflection and examination of society – and perhaps now we need it more than ever.
Ashley Pearson and Louisa Tee – Co-Directors
German-born French composer Jacques Offenbach (1819-1880) had a prolific career, writing nearly 100 operas and operettas. For the first part of his career, Offenbach produced one act works, but with Orphée Aux Enfers, the full-length operetta made its first appearance.
At the surface, the music appears to be simple, using 4-bar phrases and straight-forward harmonies. However, Offenbach uses this simplicity as a vehicle for satire. In Orphée Aux Enfers, Offenbach creates characters that are flawed, thus mocking the perfection that usually emanates from artwork based on Greek myths. More specifically, this operetta dismantles the iconic story of Orpheus and Eurydice as told by Gluck, even citing the well-known aria ’Che farò senza Euridice’ to make the violin playing Orpheus appear in a more pathetic light in this French work.
The comedy is supported by excellently crafted tunes throughout the operetta, eventually culminating in the well-known Can-Can. This infernal dance might be the best known excerpt, but Orphée Aux Enfers is made up of catchy tune after catchy tune. I am convinced you will head home humming a medley of your favourite excerpts, just as I have been during this entire rehearsal process!
Juliane Gallant – Musical Director