Orphee Aux Enfers Dvd Dessay
Her efforts are hampered by the facts of the matter: Orphée is not the son of Apollo, as in classical myth, but a rustic teacher of music, whose dislike of his wife, Eurydice, is heartily reciprocated.
She is in love with the shepherd, Aristée (Aristaeus), who lives next door ("La femme dont le coeur rêve"), and Orphée is in love with Chloë, a shepherdess.
When Orphée mistakes Eurydice for her, everything comes out, and Eurydice insists they abandon the marriage.
Orphée, fearing Public Opinion's reaction, torments his wife into keeping the scandal quiet using violin music, which she hates ("Ah, c'est ainsi").
The opera is a lampoon of the ancient legend of Orpheus and Eurydice.
In this version Orpheus is not the son of Apollo but a rustic violin teacher.
The 1874 revival broke records at the Gaîté's box-office.
In the last decade of the 19th century the Paris cabarets the Moulin Rouge and Folies Bergère adopted the music of the "Galop infernal" from the culminating scene of the opera to accompany the can-can, and ever since then the tune has been popularly associated with the dance.
In 1858 the licensing restrictions were relaxed, and Offenbach was free to go ahead with a two-act work that had been in his mind for some time.
Two years earlier he had told his friend the writer Hector Crémieux that, when he was musical director of the Comédie-Française in the early 1850s, he swore revenge for the boredom he suffered from the posturings of mythical heroes and gods of Olympus in the plays presented there.
Albert Lasalle, in his history of the Bouffes-Parisiens (1860), wrote that the piece closed in June 1859 – although it was still performing strongly at the box-office – "because the actors, who could not tire the public, were themselves exhausted".
In 1874 Offenbach substantially expanded the piece, doubling the length of the score and turning the intimate opéra bouffon of 1858 into a four-act opéra féerie extravaganza, with substantial ballet sequences.