Organization

Stage director

Liis Kolle

Costume designer

Reili Evart

Set designer

Jaagup Roomet

Lighting designer

Rene Liivamägi

Choreographer

Dmitri Harchenko

Singer

Tenor

Heldur Harry Põlda

Orpheus

Oliver Kuusik

Reigo Tamm

Aristaeus / Pluto

Mati Turi

Mezzo-soprano

Janne Ševtšenko

Cupid

Carol Männamets

Soprano

Heli Veskus

Diana

Kadri Kõrvek

Mart Madiste

John Styx

Mehis Tiits

Bass

Mart Laur

Mars

Tambet Kikas

Kristel Pärtna

Eurydice

Elina Nechayeva

Juuli Lill

Public Opinion

Annaliisa Pillak

Helen Lokuta

Venus

Karis Trass

Baritone

Tamar Nugis

Jupiter

Rauno Elp

Maria Leppoja

Minerva

Merit Kraav

Aule Urb

Juno

Triin Ella

René Soom

Mercury

Aare Kodasma

Conductor

Jaan Ots

Kaspar Mänd

Arvo Volmer

Kadri Nirgi

Chorus master

Heli Jürgenson

Assistant Chorus Master

Ksenija Grabova

Estonian National Opera

Others

Estonian National Opera Chorus

Orchestra

Estonian National Opera Orchestra

eistneska

Orphée aux enfers -  (Orpheus in the Underworld)

Tallinn

Estonia

Orphée aux enfers

Public

Orpheus in the Underworld

enska

Approved

Orphée aux enfers Offenbach

Orpheus in the Underworld
Offenbach’s rhythmic and imaginative music, with songs that could nowadays beat every Eurovision hit, the wittiness and excellent punch lines of the librettists, and the chance of giving an enjoyable spectacle to the audience are the reasons why the operetta “Orpheus in the Underworld” should be staged again and again.
In Estonian, with Estonian and English subtitles

Fashion designer Arne Niit: "Thank you very much for a very nice experience! Kankaan was great! The conductor was simply the best! I really liked the costumes! The production took my breath away, because there were very, very many ideas, different styles, fantasy, analogues and everything could fit on the Estonian stage . And what a well-tuned orchestra!"

Offenbach's rhythmic and imaginative music with songs that could still be behind all the Eurovision hits today, the wit and richness of the lyrics of the lyricists Hector Crémieux and  Ludovic Halévy and the opportunity to offer the audience an enjoyable spectacle have brought the diabolical operetta comedy "Orpheus in Hell" to the schedule again and again.

Who the hell is Orpheus and why should I care what he did or didn't do in Hell and how he got there in the first place? At the same time, hell is kind of interesting, a place where probably none of the theatergoers have been. So why not offer a musical and playful version of this mysterious place of evil fame, where the esteemed audience need not fear being thrown into a bubbling cauldron from the comfort of their chairs.

The story itself is simple and only slightly supernatural: the mythical Orpheus, who enchanted everyone with his singing and playing the lyre, has become a violin professor who - ah! – loses his wife Eurydike in an accident and goes to reclaim her from the gods. Only in Offenbach he doesn't do it willingly, because he wants to get rid of her with pleasure, and he also has an affair with a neighbor, who turns out to be Pluto, the ruler of the underworld - so Eurydike dies very willingly to go with him. Orpheus is forced to embark on a heroic journey by a character called Public Opinion, who oversees adherence to both myth and moral rules. But before heading to the underworld, they look for a wife from Jupiter, through which the chief god learns about the younger brother's conquest and begins to desire her instead. A more positional god is not averse to Eurydice either. However, it happens that that both will be lost and the woman will instead be with Bacchus, the god of wine, which doesn't seem to bother him either. As well as anyone else, because the timeless uplifting cancan sounds, to the accompaniment of which everyone dances, Public Opinion among others.

English

Orpheus põrgus
Offenbachi rütmikas ja fantaasiarikas muusika koos lauludega, mis võiksid tänapäevalgi seljatada kõik Eurovisiooni hitid, tekstiautorite Hector Crémieux’ ja Ludovic Halévy vaimukus ning puändirikkus ja võimalus pakkuda publikule nauditavat vaatemängu on toonud kuratliku operetikomöödia „Orpheus põrgus“ ikka ja jälle mängukavva.
Offenbachi rütmikas ja fantaasiarikas muusika koos lauludega, mis võiksid tänapäevalgi seljatada kõik Eurovisiooni hitid, tekstiautorite Hector Crémieux’ ja Ludovic Halévy vaimukus ning puändirikkus ning võimalus pakkuda publikule nauditavat vaatemängu on toonud kuratliku operetikomöödia „Orpheus põrgus“ ikka ja jälle mängukavva.

Kes on see pagana Orpheus ja miks mind peaks huvitama see, mida ta põrgus tegi või ei teinud ja kuidas ta sinna üldse sattus? Samas, põrgu on ju omamoodi huvitav, koht, kus tõenäoliselt keegi teatrikülastajatest pole käinud. Miks siis mitte pakkuda sellest salapärasest pahelise kuulsusega paigast muusikalist ja mängulist versiooni, mille puhul  lugupeetud publikul pole mugavalt toolis istudes vaja karta mulisevasse katlasse viskamist.

Lugu iseenesest on lihtne ja ainult pisut üleloomulik: oma laulu ja lüüramänguga kõiki lummanud müütilisest Orpheusest on saanud viiuliprofessor, kes – ah! – kaotab oma naise Eurydike õnnetuse läbi ning läheb teda jumalatelt tagasi nõudma. Ainult et Offenbachil ta ei tee seda vabatahtlikult, sest tahab naisest hea meelega lahti saada ning ka tollel on kõrvalsuhe naabrimehega, kes osutub allilma valitsejaks Plutoks – seega sureb Eurydike ülimeelsasti, et tollega kaasa minna. Orpheust sunnib kangelaslikku retke ette võtma tegelane nimega Avalik Arvamus, kes jälgib nii müüdist kui moraalireeglitest kinnipidamist. Kuid enne allilma suundumist otsivad nad naist Jupiteri juurest, misläbi peajumal noorema venna vallutusest teada saab ning teda hoopis endale ihaldama hakkab. Ka Eurydikele pole positsioonikam jumal vastumeelt. Siiski juhtub nii, et ilma jäävad mõlemad ning naine jääb hoopis veinijumal Bacchuse juurde, mis ei paista teda samuti morjendavat. Nagu ka kedagi teist, sest kõlab aegumatult tujutõstev kankaan, mille saatel kõik tantsu vihuvad, Avalik Arvamus teiste seas.

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