Name: Orphée aux enfers
Start: 2023-12-23T00:00:00.000Z
End: 2023-12-31T00:00:00.000Z
Location: Opéra de Lausanne

Organization

Przygotowanie chóru

Patrick Marie Aubert

Opéra de Lausanne

Dyrygent

Arie van Beek

Reżyseria

Olivier Py

Scenografia

Pierre-André Weitz

Kostiumy

Reżyseria światła

Bertrand Killy

Choreografia

Ivo Bauchiero

Set design assistant

Mathieu Crescence

Costumes assistant

Nathalie Bègue

Tenor

Samy Camps

Orphée

Sopran

Marie Perbost

Eurydice

Julien Dran

Aristée/Pluton

Baryton

Nicolas Cavallier

Jupiter

Mezzosopran

Sophie Pondjiclis

L'Opinion Publique

Béatrice Nani

Vénus

Yuki Tsurusaki

Cupidon

Clémentine Bourgoin

Diane

Hoël Troadec

Mercure

Frédéric Longbois

John Styx

Aslam Safla

Mars

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

Junon

Emma Delannoy

Minerve

Orphée aux enfers -  (Orfeusz w piekle)

Lozanna

Szwajcaria

Orphée aux enfers Offenbach

Public

Private

Orfeusz w piekle

Approved

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

Udział w spektaklu (Obsada & realizacja )

Obsada

Załoga

Ensemble

Współproducent