"on the crowing of a rooster's Cock a Doodle Doo. Two pianos: the animals depicted here are quite obviously running, an image induced by the constant, feverishly fast up-and-down motion of both pianos playing scales in octaves. These are dziggetai, donkeys that come from Tibet and are known for their great speed. Strings and piano: a satirical movement which opens with a piano playing a pulsing triplet figure in the higher register. The strings play a slow rendition of the famous ""Galop infernal"" (commonly called the Can-can) from Offenbach's operetta ""Orphée aux enfers"" (Orpheus in the Underworld). Double bass and"
"Hector-Jonathan Crémieux Hector-Jonathan Crémieux (10 November 1828 – 30 September 1892) was a French librettist and playwright. His best-known work is his collaboration with Ludovic Halévy for Jacques Offenbach's ""Orphée aux Enfers"", known in English as ""Orpheus in the Underworld"". Crémieux was born in Paris to a Jewish family - he was related to the lawyer Adolphe Crémieux . He studied law and then worked in the civil service. His first play, ""Fiesque"" (1852) was a historical drama, but before long he started to write comedies and then, in collaboration, operetta and opéra comique librettos. His collaborations with Halévy were"
"La descente d'Orphée aux enfers La descente d'Orphée aux enfers (English: ""The Descent of Orpheus to the Underworld"") is a chamber opera in two acts by the French composer Marc-Antoine Charpentier. It was probably composed in early 1686 and probably was performed either in the private apartment of the Dauphin that spring, or at Fontainebleau in the autumn. Charpentier himself sung the title role and was joined by the musicians of Mademoiselle de Guise and the members of the Dauphin's little ensemble. This was Charpentier's last appearance with the Guise ensemble. The libretto, whose author is unknown, is based on"
"piece with a cast of eleven. Offenbach's early operettas were small-scale one-act works, since the law in France limited the licence for musical theatre works (other than most operas) to one-act pieces with no more than three singers and, perhaps, some mute characters. In 1858, this law was changed, and Offenbach was able to offer full-length works, beginning with ""Orpheus in the Underworld"". In 1864, a music-hall called Bataclan opened in Paris, named after the operetta, and is still functioning today. The action takes place in Ché-i-no-or - in the gardens of the palace of the Emperor Fè-ni-han, with kiosks"
"""Euridice"" (1600); Caccini's ""Euridice"" (1602); Rossi's ""Orfeo"" (1647); Cesti's ""Il pomo d'oro"" (1668); Sartoris's ""Orfeo"" (1672); Lully's ""Alceste"", a ""tragédie en musique"" (1674); Charpentier's chamber opera ""La descente d'Orphée aux enfers"" (1686); Telemann's ""Orpheus"" (1726); and Rameau's ""Hippolyte et Aricie"" (1733). Pluto was a baritone in Lully's ""Proserpine"" (1680), which includes a duo dramatizing the conflict between the royal underworld couple that is notable for its early use of musical characterization. Perhaps the most famous of the Orpheus operas is Offenbach's satiric ""Orpheus in the Underworld"" (1858), in which a tenor sings the role of ""Pluton"", disguised in the giddily"
"L'Orfeo L'Orfeo (SV 318) (), sometimes called La favola d'Orfeo , is a late Renaissance/early Baroque ""favola in musica"", or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's ""Dafne"" is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's"
"Orpheus (Telemann) Orpheus (full title: Die wunderbare Beständigkeit der Liebe oder Orpheus, ""The Wonderful Constancy of Love, or Orpheus"") is an opera in three acts by the German composer Georg Philipp Telemann. It was first performed in a concert version at the Oper am Gänsemarkt in Hamburg on 9 March 1726. The anonymous libretto is based on ""Orphée"" by Michel du Boulay, originally set by the French composer Louis Lully. Most of the work is in German but it also contains passages in French and Italian drawn from famous operas by Handel and Jean-Baptiste Lully. The music to these words"
"operatic scene in the mid-nineteenth century was Jacques Offenbach. He found that contemporary French ""opéra-comiques"" no longer offered any room for comedy. His little theatre the Bouffes-Parisiens, established in 1855, put on short one-act pieces full of farce and satire. In 1858, Offenbach tried something more ambitious. ""Orphée aux enfers"" (""Orpheus in the Underworld"") was the first work in a new genre: operetta. ""Orphée"" was both a parody of highflown Classical tragedy and a satire on contemporary society. Its incredible popularity prompted Offenbach to follow up with more operettas such as ""La belle Hélène"" (1864) and ""La Vie parisienne"" (1866)"
"would continue to mock customs of the day, without really upsetting the status quo enjoyed by the theatre-going public. Offenbach's early operettas were small-scale one-act works, since the law in France limited musical theatre works (at all except the principal theatres) to one-act pieces with no more than three singers and, perhaps, some mute characters. In 1858, this law was changed, and Offenbach was able to offer full-length works, beginning with ""Orpheus in the Underworld"". Two ""blind"" beggars compete for the best position on a bridge, first in a musical battle with Patachon playing on a trombone and Giraffier a"
"Orfeo dolente Orfeo dolente (Orpheus inconsolable) is an opera by Domenico Belli to a libretto by Gabriello Chiabrera, an example of ""representative style"" of the early Baroque era. The work is divided into five interludes which were performed for the first time as intermedi in a performance of Torquato Tasso's play ""Aminta"" at the in Florence in 1616. Operas based on the Orpheus myths, and especially the story of his journey to the underworld to rescue his wife, Eurydice, were amongst the earliest examples of the art form, Monteverdi's ""L'Orfeo"" is a notable example. Belli's work is regarded as one"
"an orchestral ensemble of flute, clarinet, harp, violin, viola, and cello. The Corridor (opera) The Corridor is a chamber opera composed by Harrison Birtwistle to an English language libretto by David Harsent. It premiered at the Aldeburgh Festival on 12 June 2009. The title refers to the corridor through which Orpheus and Eurydice passed as he was leading her from the underworld. Various aspects of the myth of Orpheus have been a recurring theme in Birtwistle's work, first explored in his three-act opera ""The Mask of Orpheus"" (1986) and later incorporated into his two-act opera ""The Second Mrs Kong"" (1994)."
"Orfeo (Rossi) L'Orfeo (""Orpheus"") is an opera in three acts, a prologue and an epilogue by the Italian composer Luigi Rossi. The libretto, by Francesco Buti, is based on the myth of Orpheus and Eurydice. ""Orfeo"" premiered at the Théâtre du Palais-Royal in Paris on 2 March 1647. It was one of the earliest operas to be staged in France. Rossi had already written one opera, ""Il palazzo incantato"", for Rome. This aroused the interest of the French first minister, the Italian-born Cardinal Mazarin, who was eager to bring Italian culture to Paris and hired Rossi in 1646 to write"
"The Corridor (opera) The Corridor is a chamber opera composed by Harrison Birtwistle to an English language libretto by David Harsent. It premiered at the Aldeburgh Festival on 12 June 2009. The title refers to the corridor through which Orpheus and Eurydice passed as he was leading her from the underworld. Various aspects of the myth of Orpheus have been a recurring theme in Birtwistle's work, first explored in his three-act opera ""The Mask of Orpheus"" (1986) and later incorporated into his two-act opera ""The Second Mrs Kong"" (1994). Between 2003 and 2004, he also composed ""The Orpheus Elegies"", a"
"often written under the joint pseudonym Paul d'Arcy. In 1887, Crémieux became secretary-general of the Société des Dépôts Comptes Courants, and ceased writing. Five years later, the Société collapsed and he committed suicide by gunshot in Paris. Amongst the plays written by Hector-Jonathan Crémieux are: Hector-Jonathan Crémieux Hector-Jonathan Crémieux (10 November 1828 – 30 September 1892) was a French librettist and playwright. His best-known work is his collaboration with Ludovic Halévy for Jacques Offenbach's ""Orphée aux Enfers"", known in English as ""Orpheus in the Underworld"". Crémieux was born in Paris to a Jewish family - he was related to the"
"Jennifer Zetlan Jennifer Zetlan is an American operatic soprano who has sung leading roles with many opera companies in the United States, including the Metropolitan Opera, the Seattle Opera, and the Santa Fe Opera among others. She has performed in the world premieres of operas by composers Matthew Aucoin, Daron Hagen, Nico Muhly, and Ricky Ian Gordon. Born in Wilmington, Delaware, Zetlan studied at New York University's Tisch School of the Arts, Mannes College The New School for Music and the Juilliard School. In 2004 she portrayed Euridice in ""Orpheus in the Underworld"" at the Opera in the Ozarks at"
"in a Scottish Opera/Music Theatre Wales production that won the 2013 South Bank Sky Arts Award for Opera. In 2013 he played Frederic in the Scottish Opera/D'Oyly Carte Opera Company co-production of The Pirates of Penzance Nicholas Sharratt Nicholas Sharratt (born in Nottingham) is an English operatic tenor. Sharratt studied at the Royal Northern College of Music and the National Opera Studio. He has performed the title role in ""Orpheus in the Underworld"" for Scottish Opera and Ernesto in ""Don Pasquale"" for English Touring Opera. Other principal roles have included Nemorino in ""L'elisir d'amore"" for Grange Park Opera and Pedrillo"
"Dichterliebe 48. He captivated the crowd with his soulful and strong vocals, bringing out every emotion from the pieces, using a plethora of vocal techniques and dramatic expressions. Jacques Offenbach: Orpheus in the Underworld . This production was staged at Victoria Theatre on 29 July 2016 and 31 July 2016. New Opera Singapore commended its fifth commemoration with another stellar execution at the restored Victoria Theater. Established by Korean Soprano and singing educator Jeong Ae Ree, the fit troupe exhibits the exemplary Greek story of Orpheus and Euridice, deciphered by Jeremy Sams, with music composed by Jacques Offenbach. Orpheus In"
"the other half performing at the St James's Theatre in the West End of London. The visit was a success, but did not cause the sensation that Offenbach's later works did in London. In 1858, the government lifted the licensing restrictions on the number of performers, and Offenbach was able to present more ambitious works. His first full-length operetta, ""Orphée aux enfers"" (""Orpheus in the Underworld""), was presented in October 1858. Offenbach, as usual, spent freely on the production, with scenery by Gustave Doré, lavish costumes, a cast of twenty principals, and a large chorus and orchestra. As the company"
"by Francesco Malipiero in 1951, and by Bruno Maderna in 1968. Orfeo dolente Orfeo dolente (Orpheus inconsolable) is an opera by Domenico Belli to a libretto by Gabriello Chiabrera, an example of ""representative style"" of the early Baroque era. The work is divided into five interludes which were performed for the first time as intermedi in a performance of Torquato Tasso's play ""Aminta"" at the in Florence in 1616. Operas based on the Orpheus myths, and especially the story of his journey to the underworld to rescue his wife, Eurydice, were amongst the earliest examples of the art form, Monteverdi's"
"Orpheus (Liszt) Orpheus is a symphonic poem written by Franz Liszt in 1853-4. He numbered it No. 4 in the cycle of 12 he wrote during his time in Weimar, Germany. It was first performed on 16 February 1854, conducted by the composer, as an introduction to the first Weimar performance of Christoph Willibald Gluck's opera ""Orfeo ed Euridice"". The performance helped celebrate the birthday of Weimar's Grand Duchess Maria Pavlovna, who was an amateur musician and a staunch supporter of Liszt at Weimar. ""Orpheus"" is one of four symphonic poems Liszt composed as character sketches of men of creative"
"The Inman Diaries The Inman Diaries is an opera composed by Thomas Oboe Lee with a libretto by Jesse J. Martin. This portrayal of Arthur Crew Inman's life, as seen through his own writings was originally adapted from 'Camera Obscura', a play by Lorenzo DeStefano (http://www.cameraobscuraplay.com) and ""The Inman Diary: A Public and Private Confession"", edited by Professor Daniel Aaron. From 1919 until he committed suicide in 1963, he created his 155 volume diary which contained over 17 million words, making it one of the longest recorded diaries in the English language. He was an obsessive recluse who was committed"
"Orpheus, a poet and musician that had almost supernatural abilities to move anyone to his music, descended to the underworld as a living mortal to retrieve his dead wife Eurydice after she was bitten by a poisonous snake on their wedding day. With his lyre-playing skills, he was able to put a spell on the guardians of the underworld and move them with his music. With his beautiful voice he was able to convince Hades and Persephone to allow him and his wife to return to the living. The rulers of the underworld agreed, but under one condition – Eurydice"
"Orfeo (Sartorio) Orfeo (""Orpheus"") is an opera in three acts by the Italian composer Antonio Sartorio. The libretto, by Aurelio Aureli, is based on the myth of Orpheus and Eurydice. It was first performed at the Teatro San Salvatore, Venice in 1672. With its clear division between arias (of which there are about 50) and recitative, the work marks a transition in style between the Venetian opera of Francesco Cavalli and the new form of opera seria. Modern reactions to the work have been mixed, with Tim Carter describing it as ""a fairly dismal example of a genre with all"
"popular. In 1858, Offenbach produced his first full-length operetta, ""Orphée aux enfers"" (""Orpheus in the Underworld""), which was exceptionally well received and has remained one of his most played works. During the 1860s, he produced at least 18 full-length operettas, as well as more one-act pieces. His works from this period included ""La belle Hélène"" (1864), ""La Vie parisienne"" (1866), ""La Grande-Duchesse de Gérolstein"" (1867) and ""La Périchole"" (1868). The risqué humour (often about sexual intrigue) and mostly gentle satiric barbs in these pieces, together with Offenbach's facility for melody, made them internationally known, and translated versions were successful in"
"enormous crowds to the city, he rented a theater on the Champs-Élysées and put on his musicals to full houses. He then opened up a new theater, the Bouffes-Parisiens, which opened in 1855 with a work called ""Ba-ta-clan, a Chinese-style Musical"". Offenbach's theater attracted not only the working and middle class audiences, the traditional audience of the music halls, but also the upper classes. The comic opera scenes alternated with musical interludes by Rossini, Mozart, and Pergolese. In 1858 he took a step further with his first full-length operetta, with four acts and a chorus, ""Orpheus in the Underworld"". It"
"composing music for stage shows, starting with ""The Water Maidens"" in 1901. In 1911, Norton provided additional music for a production of ""Orpheus in the Underworld"" at His Majesty's Theatre, which was based on the Offenbach opera of the same name. In 1916, he wrote the music to Oscar Asche's ""Chu Chin Chow"", which achieved a then world-record theatrical run of over five years. Norton was never again to achieve the same degree of success that he earned with ""Chu Chin Chow"". He died in Holford in 1946, aged 77. Frederic Norton George Frederic Norton (11 October 186915 December 1946)"
"Philémon et Baucis Philémon et Baucis (""Philemon and Baucis"") is an opera in three acts by Charles Gounod with a libretto by Jules Barbier and Michel Carré. The opera is based on the tale of Baucis and Philemon as told by La Fontaine (derived in turn from Ovid's ""Metamorphoses"" Book VIII). The piece was intended to capitalise on the vogue for mythological comedy started by Offenbach's ""Orpheus in the Underworld"", but ""Philémon et Baucis"" is less satirically biting and more sentimental. Originally intended as a two-act piece for the music festival at Baden-Baden, it was instead first performed at the"
"She and Orpheus escape together as the candles go out and the curtain comes down. The only commercially released recording of the complete ""Orfeide"" (a remastered live recording of the 7 June 1966 performance at the Teatro della Pergola in Florence) was published in 1996 by the French company Tahra (Tah 190/191). Hermann Scherchen conducted the Maggio Musicale Fiorentino Orchestra with a cast that included Magda Olivero and Renato Capecchi. L'Orfeide L'Orfeide is an opera composed by Gian Francesco Malipiero who also wrote the Italian libretto, partly based on the myth of Orpheus and incorporating texts by Italian Renaissance poets."
"Eurydice back to life. Pluto, the ruler of the underworld, is won over by his singing and releases Eurydice on condition that Orpheus does not look at her before they have reached the land of the living. But Orpheus turns round and Eurydice is lost again. Aristaeus finally accepts the love of Autonoe and the two are married. Orfeo (Sartorio) Orfeo (""Orpheus"") is an opera in three acts by the Italian composer Antonio Sartorio. The libretto, by Aurelio Aureli, is based on the myth of Orpheus and Eurydice. It was first performed at the Teatro San Salvatore, Venice in 1672."
"as a guest artist. He drew acclaim in the operetta repertoire, and notably sang in numerous world premieres at that house; including Karl in Suppé's ""Das Pensionat"" (1860), Janio in Strauss's ""Indigo und die vierzig Räuber"", Lambrequin in Offenbach's ""Der schwarze Korsar"" (1872), Arthur Bryk in Strauss's ""Der Karneval in Rom"" (1873), and Helmut Forst in Strauss's ""Blindekuh"" (1878). Other roles in his repertoire included Pâris in ""La belle Hélène"", Piquillo in ""La Périchole"", and the title role in ""Orpheus in the Underworld"". As a dramatic actor he appeared to critical success in the world premieres of several plays by"
"Orphée (Glass) Orphée is a chamber opera in two acts and 18 scenes, for ensemble and soloists, composed in 1991 by Philip Glass, on a libretto (in French) by the composer, based on the scenario of the eponymous film (1950) by Jean Cocteau. Commissioned by the American Repertory Theater in Cambridge, Massachusetts, and the Brooklyn Academy of Music in New York, this is the first part of a trilogy in honour of the French poet. The world premiere of the work took place on 14 May 1993 under the direction of Martin Goldray and the European premiere on 27 May"
"Underworld"" and ""Belle Hélène"". Those who called him 'The Mozart of the Boulevards' were not much mistaken"". Debussy, Bizet, Mussorgsky and Rimsky-Korsakov loved Offenbach's operettas. Debussy rated them higher than ""The Tales of Hoffmann"": ""The one work in which [Offenbach] tried to be serious met with no success."" A London critic wrote, on Offenbach's death: Efforts to present critical editions of Offenbach's works have been hampered by the dispersion of his autograph scores to several collections after his death, some of which do not grant access to scholars. Jacques Offenbach Jacques Offenbach (; ; 20 June 1819 – 5 October"
"L'Orfeide L'Orfeide is an opera composed by Gian Francesco Malipiero who also wrote the Italian libretto, partly based on the myth of Orpheus and incorporating texts by Italian Renaissance poets. The work consists of three parts – ""La morte delle maschere"" (The death of the masks), ""Sette canzoni"" (Seven songs), and ""Orfeo, ovvero L'ottava canzone"" (Orpheus, or The eighth song). It received its first complete performance on 5 November 1925 at the Stadttheater in Düsseldorf. Although it is often referred to as a trilogy (or an operatic triptych), Malipiero himself described the work as one opera in three parts, with"