Organization

Хормейстер

Patrick Marie Aubert

Opéra de Lausanne

Дирижер

Arie van Beek

Режиссер-постановщик

Olivier Py

Художник-постановщик

Pierre-André Weitz

Художник по костюмам

Художник по свету

Bertrand Killy

Хореограф

Ivo Bauchiero

Set design assistant

Mathieu Crescence

Costumes assistant

Nathalie Bègue

Певец

Тенор

Samy Camps

Орфей

Сопрано

Marie Perbost

Эвридика

Julien Dran

Плутон

Баритон

Nicolas Cavallier

Юпитер

Меццо-сопрано

Sophie Pondjiclis

Общественное мнение

Béatrice Nani

Венера

Yuki Tsurusaki

Купидон

Clémentine Bourgoin

Диана

Hoël Troadec

Меркурий

Frédéric Longbois

Стикс

Бас

Aslam Safla

Марс

Opéra de Tours

Opéra national du Capitole

Others

Chœur de l'Opéra de Lausanne

Orchestra

Sinfonietta de Lausanne

Ensemble de violonistes du Conservatoire de Lausanne

Carole Meyer

Юнона

Emma Delannoy

Минерва

Orphée aux enfers -  (Орфей в аду)

Лозанна

Швейцария

Orphée aux enfers Offenbach

Public

Private

Орфей в аду

Одобрено

1858. Faced with the threat of closure by the bailiffs of his Bouffes-Parisiens theatre whose coffers had been desperately empty since its opening three years earlier, Jacques Offenbach tried to do everything he could by writing (at last!) a major work aimed at balancing the budget and establishing his reputation as a composer. Encouraged in his approach by Napoleon III’s half-brother the Duke of Morny – who signed the libretto of Monsieur Choufleuri under a pseudonym and was no doubt responsible for the abolition of the limit on the number of characters and choruses in the Bouffes-Parisiens’ productions – Offenbach ventured to write the opera that would become the foundation of his legend: Orpheus aux Enfers. The appointment with eternity took place on 21 October 1858. Hector Crémieux had concocted a high-flying libretto based on an original idea by Ludovic Halévy (to whom Offenbach dedicated his score): an offbeat and anachronistic plunge into ancient Greece featuring a subtle yet extremely caustic background portrayal of the insipid vanity of Second Empire society. The bold move proved a hit and was enthusiastically received audiences – despite the fact that they were the primary target. The composer had taken impressive liberties for his first “no-holds-barred” work. Four acts, seven male and seven female singers, a large chorus and orchestra: the one-act operettas before this “opéra bouffon” – its exact name – appeared mere first drafts compared with this. One might as well come out and state that this was the first great French operetta.

English

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