Orpheus in the Underworld, by Offenbach, is usually called the first operetta - and it remains the only one to spoof both a Greek myth and a ruling Emperor.
The ancient Greek legend of divine music, grief and human frailty had become, by the nineteenth century, one of true love and sacrifice with strong moral overtones. Here's Britannica's account. It hardly offered a basis for spoofery of the ruling aristocracy. Especially since the legend had come to eighteenth century opera via a sentimental romantic work from Gluck.
Orfeo ed Euridice (1762) was the first of Gluck's "reform" operas, remaking opera seria with its heavy plots and formal song shapes to what he called a "noble simplicity" in both the music and the drama. Gluck went for the Greek myth of the power of a semi-god's music and the moral of human obedience to the gods. Thus we were treated to act three's famous "Che farò senza Euridice?" That great cry of despair from Orpheus when he looks back, against the gods' command, is usually sung by a mezzo soprano or countertenor - here's Anthony Roth Constanzo at the Met.
And thus the romantic, moralising story was set in music and indeed art, to backdrops from idyllic rural landscapes or divine clouds. For those who read librettos, here's Gluck's. To see the power of this stoy, try Googling 'orphée et eurydice' and select 'Images'! It's still played that way - there's a fabulous production from La Scala 2018 is in full here, starring Juan Diego Flórez. No subtitles, but you know the story. Go to 1.28 to 1.33 for his loss of Eurydice.
Enter Offenbach
But then, mid century, there was Offenbach. Orphée aux enfers (1858) was Offenbach's first full-length operetta and his first wildly successful one, though he'd offered more than two dozen one-act operettas at various French theatres between 1855 and 1858 and even bought his own theatre to support the effort. He would go on to top 100 by the 70s, and his only really serious opera, Tales of Hoffman, was unfinished at his death. A renowned cellist, a court favourite during one regime, (more below) but only one, he shifted residence and changed names as European history required. Read this fascinating man's story here.
Orpheus in the Underworld
Offenbach's is a very different version of Euridice's descent to hell and thwarted escape from it. His focus is on the gods, their extravagant and boring life of ambrosia and luxury, widely seen as satirizing the court of Louis Napoleon (who was delighted by the mockery and demanded a royal performance, over the furious opposition of Empress Eugénie.) The satire and the elevation of the Paris can-can to high theatre ensured great success for the operetta, and Offenbach basked in royal approval until the fall of the second republic. (You didn't know the story of the extraordinary Napoleon III? The full fascinating detail is here.)
The success of the operetta was one of the inspirations for the creation of a home-grown English musical theatre, and for Richard D’Oyly Carte’s pairing of Gilbert and Sullivan to accomplish it.
For this wildly revised version of the legend, the drama is driven less by the musical talents of Orpheus (he's just a violin teacher) than by the new character of Public Opinion, who specifies that she is not just a Greek Chorus, commenting on human action, but an agent, intervening for her rigid version of Moral Good. She proves it by bossing Orpheus, who has been relieved by the disappearance of his nagging and unfaithful wife, into pursuing her to Hades to rescue her from her (sought) capture by Pluto. Since the bored gods have followed Mercury to Hades and are ready to can-can with Euridice, and Orpheus is more than ambivalent about life with her above, you can guess the rescue will go wrong.
And the libretto is a hoot - read Donald Pippin's translation in English here.
Our production
We're viewing a long ago production (1997 Opéra National de Lyon) by Laurent Pelly.
It's fast, somewhat surreal and brilliantly cast - and has a rendition of the gods that Napoleon III would have adored, and (like him) a wicked sense of humour. Review from Gramaphon here.
This is a celebration of Offenbach and a welcome to operetta - melodious, wonderfully paced , silly, naughty and driven by sharp choreography & rich orchestral playing. Laurent Naouri as Pluto and Natalie Dessay make a wonderful couple and Public Opinion is far scarier than the devil. No wonder this operetta started a whole genre of fun, music and silliness.
Full opera online?
There's a gem on YouTube - the full opera version, in English, with English subtitles and a hilarious depiction of the court Offenbach was mocking.
It's a production for film, 1983, with some little secrets - Felicity Palmer sang Venus and Honor Blackman turned up as Juno (or the Empress Eugénie, who would definitely not have been pleased by the performance.)
Lyn, 31/7/24
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