Since Pluton was originally played by a famous female impersonator, this song contains numerous falsetto notes. Her exchanges in the First Act Dessay orphee aux enfers her despised violinist husband the admirable Yann Beuron are superbly done.
Since this latter demands huge forces, it is scarcely viable on stage today. Whereas Leibowitz used the lightly scored original version in two acts and four scenes, Plasson opted for the spectacular version with lots of extra songs and ballet numbers.
Home listeners may prefer to make their own selections of numbers, and musicologically questionable decisions such as the rescoring of pieces for orchestral resources become more exposed. Scene 2 The scene Dessay orphee aux enfers to a huge party the gods are having in Hell, where ambrosia, nectar, and propriety are nowhere to be seen "Vive le vin!
Things liven up, though, as the most famous number in the operetta, the Galop Infernal best known as the music of the can-can starts, and everyone throws himself into it with wild abandon "Ce bal est original".
Its never-changing rhythm and melismas parody eighteenth century love ballads. Public Opinion explains who she is — the guardian of morality "Qui suis-je? However, she has her work cut out for her: He is relieved when a snake bite spirits her off to the underworld, but Public Opinion forces him to pursue her.
The plot alone skewers classical themes. What matters most, though, is the quality of performance, and the pleasures of this newcomer are formidable. John Styx sings a tasty aria about once being king of Boeotia.
Public Opinion keeps a close eye on him, to keep him from cheating, but Jupiter throws a lightning bolt, making him jump and look back, and so all ends happily, with a reprise of the Galop. The music itself is so delicious it is addictive. More absurd twists ensue, such as the rebellion of the gods on Mount Olympus, the rivalry of Jupiter and Pluto for Eurydice, the pursuit of Eurydice by a Lethe-addled John Styx, and two Bacchanales in the Underworld, both to the tune of the "infernal gallop," popularly known as the can-can.
The next year he added a ballet. Ensemble numbers are extremely well done, not least in the final party scene. Things look a bit more interesting for them when Diane Diana returns and begins gossiping about Actaeonher current love "Quand Diane descend dans la plaine".
The usual solution in the theatre is thus to add selected numbers from the version to the text, and this is what was done for the performances at Geneva, Lyons and Grenoble that formed the basis of this recording. Olympus The scene changes to Olympus, where the Gods sleep out of boredom "Dormons, dormons".
Dessay is splendid as the spoiled and willful Eurydice, always ready to strain her voice for comic effect. Her gaoler, a dull-witted tippler by the name of John Styx, is not helping, particularly his habit of telling, at the slightest provocation, all about how he was King of Boeotia a region of Greece that Aristophanes used as a source of rural rubes until he died.
Jupiter spots where Pluton hid Eurydice whilst being shown around by him, and slips through the keyhole by turning into a beautiful, golden fly. Afterwards, he reveals himself to her, and promises to help her, largely because he wants her for himself.
Pluto then arrives, and reveals to the other gods the pleasures of Hell, leading them to revolt against horrid ambrosia, hideous nectar, and the sheer boredom of Olympus "Aux armes, dieux et demi-dieux!
Nor are things helped by what sounds like a major editing blip 54 seconds into track 26 of the first disc.
However, Jupiter, shocked at the behaviour of the supposedly virgin goddess, has turned Actaeon into a stag. The "Rondo-Saltarelle" of Mercury is lively and spirited, but the "Aux Armes, dieux et demi-dieux" chorus, in which the gods and demi-gods protest their ambrosia, reveals how well Offenbach could caricature the stirring military choruses of Verdian high opera.
A melodrama Introduction and Melodrame opens the work. What makes artistic and economic sense for evenings in the theatre, of course, may be less appropriate for repeated home use. Even the recitatives — and there are many — breeze by, aided by snatches of indignation, accusation, and general over-the-top acting.
Unfortunately, Jupiter can only dance minuets which everyone else finds boring and awful "La la la. Throughout, Marc Minkowski provides thoughtful and lively direction, altogether sprightlier than Plasson in Orphee aux enfers may be Offenbach’s best-known operetta, but it has had limited attention on disc.
There appear to be only two previous complete recordings in French – one from under Rene Leibowitz (Nixa, 8/52 – nla), the other from under Michel Plasson.
Whereas Leibowitz used the lightly scored original version in two acts. Offenbach: Orphee Aux Enfers / Minkowski, Dessay, by Offenbach, Jacques on CD. Order from your preferred classical music CD store - ArkivMusic. Great prices. Best service. Fast delivery. Jan 20, · Mix - Natalie Dessay - Fly Duet - English Subs - Orphée aux Enfers YouTube Dessay/Beuron - Duet Orphée/Eurydice - English Subs - Orphée aux Enfers - Duration: thecelticspirit 35, views.
Natalie Dessay as Eurydice and Yann Beuron as Orphee guarantee a humorous and provocative presentation of this production, which could only come from the Lyon Opera.
Marc Minkowski is the conductor and Laurent Pelly is the stage director/5(15). Album Offenbach: orphée aux enfers de Natalie Dessay: écouter gratuitement et télécharger en MP3. Jacques Offenbach, Marc Minkowski, Natalie Dessay, Yann Beuron - Offenbach: Orphee aux Enfers - mint-body.com Music/5(2).Download