The work, first performed in 1858, is said to be the first classical full-length operetta.[1][2] Offenbach's earlier operettas were small-scale one-act works, since the law in France did not allow certain genres of full-length works. Orpheus was not only longer, but more musically adventurous than Offenbach's earlier pieces ..The operetta is an irreverent parody and scathing satire on Gluck and his Orfeo ed Euridice and culminated in the risqué galop infernal (often copied, widely used as the background music for the Can-can dance, and erroneously called "Can-can") that shocked some in the audience at the premiere. Other targets of satire, as would become typical in Offenbach's burlesques, are the stilted performances of classical drama at the Comédie Française and the scandals in society and politics of the Second French Empire ...The piece was not immediately a hit, but critics' condemnation of the travesty, particularly that ofJules Janin, who called it a "profanation of holy and glorious antiquity," only provided vital publicity, serving to heighten the public's curiosity to see the piece
The Greeks of the Classical age venerated the legendary figure of Orpheus as chief among poets and musicians, and the perfector of the lyre invented by Hermes. Poets like Simonides of Ceos said that, with his music and singing, he could charm birds, fish and wild beasts, coax the trees and rocks into dance,[4] and even divert the course of rivers. He was one of the handful of Greek heroes[5] to visit the Underworld and return; even in Hades his song and lyre did not lose their power.The most famous story in which Orpheus figures is that of his wife Eurydice (also known as Agriope). While fleeing fromAristaeus (son of Apollo), Eurydice ran into a nest of snakes which bit her fatally on her heel. Distraught, Orpheus played such sad songs and sang so mournfully that all the nymphs and gods wept. On their advice, Orpheus traveled to theunderworld and by his music softened the hearts of Hades and Persephone (he was the only person ever to do so), who agreed to allow Eurydice to return with him to earth on one condition: he should walk in front of her and not look back until they both had reached the upper world. He set off with Eurydice following and in his anxiety as soon as he reached the upper world he turned to look at her, forgetting that both needed to be in the upper world, and she vanished for the second time, but now forever.
A slightly different version of this classic romp with the ancient gods..
Orpheus and Eurydice have been married for years-and they just can’t stand each other! They have both been “playing the field” and Eurydice is now having an affair with a shepherd. What she doesn’t know is that her shepherd is non other than that little devil Pluto, God of the Underworld, and does he have plans for her !
When Pluto abducts Eurydice and whisks her off to Hades, Orpheus is ecstatic - but he bows to pressure from Public Opinion to go and plead with Jupiter, Father of the Gods, for her release. Those naughty little Gods just can’t help interfering in the daily lives of us mere mortals.
Anyway all is not well up on Mount Olympus - the Gods are bored and fed up with a diet of nectar and ambrosia. When they get the opportunity to descend to Hell for the party of a lifetime they’re off like a shot.
The world-famous operetta was written in 1858 with music by Jacques Offenbach. Intended as a satire of the gods of Greek and Roman antiquity, it caused outrage when first presented as French audiences were shocked to see figures from Classical Antiquity lampooned this way! 2009 audiences, however, would be hard-pressed to be shocked about such a thing.
The WMs are delighted to present "Orpheus in the Underworld" and are sure that you will enjoy listening to Offenbach’s well known music performed by an enthusiastic and talented cast.
JUPITER, father of the gods (Mike Mackenzie) great acting and singing. He carried the father of mount Olympus role off really well and was like a modern politician when it came to covering up his own indiscretion.
JUNO, his wife (Karen Hollamby) – the long suffering wife of Jupiter and with that many children you understand why
DIANA, goddess of hunting (Sally Wilson) - fantastic voice and 60s mod-style outfit
MERCURY, messenger of the gods (Toby Willis) – great poise – his movement and costume were great – I kept think of the Correggio painting in the National Gallery (Venus with Mercury and Cupid - 'The School of Love') but that could have been the wings ;-)
VENUS, goddess of love (Vicky Rodgers) – I loved her Marilyn Monroe outfit – she really did look like the modern "goddess of love"
CUPID, Venus's son - Ciru James – a powerful voice with an impish gleam in the eye
ARISTEUS, a shepherd / PLUTO, ruler of the underworld - Jonathan Nulty - like Jupiter, this role required poise confidence and bravado + a damn fine singing voice
JOHN STYX, Pluto's factotum - Bob Hinton - not a very charismatic role to play but played well
ORPHEUS, a music teacher - Tony Adams - great voice, a good amount of style
EURYDICE, his wife - Sue Fleet - she sung quite beautifully and played her role superbly – possibly the star of the show
PUBLIC OPINION - Sam Brennan – a classic English matron role, crisp, precise and slightly strict – beautifully sung.
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