#Orphée aux enfers

[ave-ari]

Sometimes when you grow up in a franglais house you get really ridiculous off the cuff translations 

such as my dad asking me in english if I even knew what the name of the opera that we just call “the cancan song” actually was, and me going “oh yeah it’s, uh -” (Pause. Recalibrate) “Orphans in hell?” 

“Orpheus in the Underworld,” he says, while my sister loses her shit. 

[odk-2]

Orpheus in the Underworld (Overture) (1980) Orphée aux Enfers (Ouverture) from: Offenbach: Overtures (1981) Karajan Festival (1984 Compilation)

Classical | Overture | Opera | Comic Opera

JukeHostUK (left click = play) (320kbps)

Conductor: Herbert von Karajan Orchestra: The Berliner Philharmoniker Composer: Carl Binder*

*The best-known and much-recorded 'Orphée aux Enfers' overture is not by Jacques Offenbach, and is not part of either the 1858 or the 1874 scores. It was arranged by the Austrian musician Carl Binder for the first production of the opera in Vienna, in 1860.

Recorded: @ The Berliner Philharmonie in Berlin, Germany September, 1980

Produced by Michel Glotz

Offenbach: Overtures Released: 1981 Karajan Festival Released: 1984

Deutsche Grammophon

[rwpohl]

orphée aux enfers, jacques offenbach 1858

die insel der seligen, max reinhardt 1913

[arcimboldisworld]

Orphée aux enfers - Opéra de Lausanne 31.12.2023

Orphée aux enfers - Opéra de Lausanne 31.12.2023 #oliverpy #arievanbeek #jacquesoffenbach #silvester #rezension #lausanne #orpheusinderunterwelt #operalover #opera #opérabuffe

Die Silvestervorstellungen an der Opéra de Lausanne sind immer wieder ein Erlebnis, zum Jahresabschluss 2023 gab es eine Aufführungsserie von Jacques Offenbachs Opéra buffe “Orphée aux enfers” (Orpheus in der Unterwelt). Es ist eine grossartige Produktion und – ich kann es selbst kaum glauben – meine 500. besuchte Opern-Vorstellung… Continue reading Untitled

[doyouknowthisopera]

[lux-vitae]

Orphée aux Enfers (Orpheus in the Underworld) by Jean Delville (1896)

[artthatgivesmefeelings]

Gioacchino Giuseppe Serangeli (Roman, 1768-1852) Orphée suppliant ou Orphée aux enfers, 1804 Musée de la musique | Philharmonie de Paris

[mariacallous]

on hold with property management and their hold music is Offenbach's Galop Infernal from Orphée aux Enfers

and it just restarted

[opera-ghosts]

OTD in Music History: Jakob “Jacques” Offenbach (1819 – 1880) dies in Paris. Offenbach is best remembered for two artistic achievements: First, for his pioneering work as the creator of a type of light burlesque French comic opera popularly known as “operetta,” which became one of the most characteristic "pop" musical products of the latter half of the 19th Century. Second, perhaps ironically, for his own masterpiece -- and one of only two operas he ever wrote that *wasn’t* an operetta -- “Les Contes d’Hoffmann” (“The Tales of Hoffmann”), a “grand opera” which remained unfinished at his death. (It was subsequently orchestrated and provided with recitatives and produced at the Opera-Comique in early 1881, where it proved to be a smash hit. It remains a part of the international operatic repertoire to this day.) Offenbach combined a remarkably fluent and elegant musical style with a highly developed sense of both characterization and satire – indeed, no less an expert on matters of the theater than legendary "opera buffa" composer Giacchino Rossini (1792 - 1868) dubbed him “our little Mozart of the Champs-Elysees.” Offenbach produced his first full-length operetta, “Orphee aux enfers” (“Orpheus in the Underworld”) -- which features the (in)famous “Can-Can” dance -- in 1858, and it was perhaps the biggest hit of his career; it is certainly the most frequently performed of his many operettas today. In many ways, both directly and indirectly, Offenbach can fairly be said to be the great-grandfather of the theatrical genre now commonly referred to as the “musical.” PICTURED: One of the many sheets of musical sketches written out by Offenbach over the years in connection with various projects (both realized and unrealized), which were then dispersed as "souvenirs" after his death. The completed work to which this particular sketch sheet is connected -- if any -- has not yet been identified.

[staghunters]

Stages of Grief

One Hundred Years Of Solitude - Gabriel García Márquez Yellowjackets "Sic Transit Gloria Mundi" - dir. Eduardo Sánchez Orphée aux Enfers - Henri Regnault Twin Peaks "Pilot: Nortwest Passage" - dir. David Lynch The Haunting Of Hill House "Silence Lay Steadily" - writ. Mike Flanagan

[philoursmars]

Louvre-Lens : il y a une expo : “Mondes souterrains : 20.000 Lieux sous la terre”. la suite et fin.

Michiel Coxcie : "La Grotte de Platon" - 1550 (pour ma part, cela me fait penser aux boîtes de nuit gay des années 80...)

Franz Von Stuck : "La Chasse Sauvage" - 1899 (Odin sur son cheval et une Gorgone)

Gérard de Lairesse : "Orphée aux Enfers" - 1662

Huang Yong Ping : installation dans une énorme géode : "La Caverne" - 2009

idem

Antoine Caron : "La Résurrection du Christ" - 1584

idem

[petit-atelier-de-poesie]

Orphée porte son chant pour Eurydice aux portes des enfers avec ordre de « ne pas se retourner » : faire volte-face, c’est enfermer l’autre dans la fixité, le passé, la nostalgie.

Anne Dufourmantelle. En cas d’amour. Psychopathologie de la vie amoureuse. 2009

[mariomusicdaily]

Mario Music of the Day: Invincible from Super Mario Land. This theme is a rendition part of the famous Galop Infernal from the Offenbach operetta Orphée aux Enfers.

[infinitelytheheartexpands]

Any opera recs for a musical theater nerd who keeps wanting to check opera out and hasn’t gotten around to it yet?

ooh!!! as a lover of both opera and musical theater, YES!!!

so here are some basics:

-any operetta or light opera basically ever. some of the best: gilbert and sullivan. johann strauss’ die fledermaus (the bat). franz lehar’s die lustige witwe (the merry widow). any jacques offenbach operetta, ESPECIALLY orphée aux enfers (orpheus in the underworld, aka the one with the famous can-can) or la vie parisienne (the parisian life). leonard bernstein’s genre-defying candide.

-speaking of which, there are a LOT of good, reasonably short american operas out there. george gershwin’s porgy and bess (the source of MANY standards, most notably “summertime”) premiered on broadway, actually. so did gian carlo menotti’s the saint of bleecker street. others i’d recommend: menotti’s the medium, carlisle floyd’s susannah, kurt weill’s street scene. all of these are pretty intense/tragic though. my fave in a lighter vein is bernstein’s trouble in tahiti, which i saw live once and it was DELISH.

-giacomo puccini and his contemporaries are a GOLD mine for musical-loving opera newbies. they’re reasonably short operas, they’re INTENSE, they’ve got amazing scores. so:

puccini’s la bohème: yeah, rent is based on it. however: VERY MUCH NOT THE SAME. (bohème is better imo.)

puccini’s tosca: you want an intense night at the opera? this one has EVERYTHING. it’s a straight up thriller. basically everyone dies. the music is glorious.

i’m not a huge fan of puccini’s madama butterfly but miss saigon is based on it, so there’s that i guess.

puccini’s il trittico: three short (1 hour) operas with three wildly different moods: il tabarro (the cloak) is a thriller, suor angelica is about a nun Going Through Some Shit and is DEVASTATING, gianni schicchi is a side-busting comedy and also has that iconic aria “o mio babbino caro”.

pietro mascagni’s cavalleria rusticana (rustic chivalry) and ruggero leoncavallo’s pagliacci (clowns) are a frequent double bill. they’re both INTENSE short operas about infidelity and passion and revenge and murder. and they both have tunes you will recognize.

-other recommendations:

-wolfgang amadeus mozart’s die zauberflöte (the magic flute), which has lots of spoken dialogue and hit tunes. MAJOR caveat however: you’re better off picking a production that plays much more fast and loose with the dialogue and lyrics because the original is uh…HUGELY racist and sexist! look up the pacific opera project’s nintendo-themed production on youtube.

-gioachino rossini’s il barbiere di siviglia (the barber of seville). hilarious as shit. so many shenanigans. can be a little long for a newbie but yeah. plus: TUNES.

-gaetano donizetti’s l’elisir d’amore (the elixir of love), don pasquale, la fille du régiment (the daughter of the regiment), and lucia di lammermoor. the first three are hilarious comedies, the last one is a tragedy of bloody murder with an ICONIC mad scene for the soprano.

-giuseppe verdi’s rigoletto and la traviata. both pretty short (~2 hours or so). both have iconic tunes and great stories. the latter is more or less the basis of both pretty woman and moulin rouge.

-georges bizet’s carmen. SO MANY HIT TUNES YOU WILL RECOGNIZE. also the basis of carmen jones.

-maurice ravel’s l’heure espagnole (the spanish hour). it’s a short opera about a woman who juggles three lovers by hiding two of them inside clocks in her husband’s clock shop. it’s risqué and funny and fun and does not get done enough.

-if you like WEIRD german stuff: richard strauss’ salome (which i love, but it’s disturbing as fuck) and elektra (which i don’t love but respect people who do) and alban berg’s wozzeck (SUPER weird and disturbing) are all in the 1.5-2 hour range and have been known to make unexpected fans of newbies. but do not attempt these unless you’re willing to experience a total mindfuck.

i hope that helps some! fellow operablr members pls feel free to add anything i may have overlooked 💗

[tinyshe]

Classical Music that Goes HARD Tracklist: 0:00:00 Vivaldi - The Four Seasons, Concerto No. 2 "Summer": III. Presto * 0:02:40 Jenkins - Concerto Grosso for Strings "Palladio": I. Allegretto Metamorphose String Orchestra, Pavel Lyubomudrov * Violin: Yuliya Lebedenko 0:05:13 Wagner - The Valkyrie: Ride of the Valkyries Brahms - 21 Hungarian Dances, WoO 1: 0:10:12 No. 5 in G Minor, Allegro 0:13:23 No. 1 in G minor, Allegro molto Budapest Scoring Symphonic Orchestra, Peter Pejtsik 0:16:54 Litvinovsky - Pinocchio: X. In fuga dai briganti * 0:18:26 Litvinovsky - Pelléas and Mélisande: III. Galliard. Navire dans la tempête (Galliard. Ship in a storm) 0:21:05 Haydn - Die Worte des Erlösers am Kreuze: IX. Il Terremoto 0:22:51 Litvinovsky - Le Grand Cahier: X. L'Incendie Brahms (arr. Naughtin) - 21 Hungarian Dances, WoO 1: 0:25:10 No. 2 in D Minor, Allegro non assai 0:28:17 No. 21 in E Minor, Vivace 0:29:36 No. 11 in D Minor, Poco andante 0:32:33 Händel - Suite No. 11 in D Minor: III. Sarabande 0:35:22 Händel - Suite No. 7 in G Minor: VI. Passacaglia 0:43:06 Albéniz (arr. Naughtin) - Suite Española No. 1: V. Asturias - Leyenda 0:50:07 Schubert - Erlkönig (The Elf King), D. 328 0:53:45 Bizet - L'Arlésienne Suite No. 2: IV. Farandole Metamorphose String Orchestra, Pavel Lyubomudrov * Mandolin: Anna Ignatova 0:56:52 Mozart - The Marriage of Figaro, K. 492: Overture Budapest Scoring Symphonic Orchestra, Peter Pejtsik 1:01:37 Rossini - William Tell: Overture Budapest Scoring Symphonic Orchestra, Peter Illenyi 1:14:45 Offenbach - Orphée aux enfers: Galop Infernal (Can Can) 1:17:06 Verdi - Aida: Marcia Trionfale (Triumphal March) 1:23:29 Elgar - Pomp and Circumstance March No. 1, Op. 39 No. 1 Budapest Scoring Symphonic Orchestra, Peter Pejtsik 1:29:52 Rossini - La Gazza Ladra: Overture Budapest Scoring Symphonic Orchestra, Peter Illenyi 1:41:20 Strauss - Radetzky March, Op. 228 1:44:03 Rossini - Il Barbiere di Siviglia: Overture 1:51:55 Beethoven - Symphony No. 5 in C minor, Op. 67: I. Allegro con brio 1:59:03 Mozart - Symphony No. 40 in G Minor, K. 550: I. Molto Allegro 2:05:23 Grieg - Peer Gynt Suite No. 1, Op. 46: In the Hall of the Mountain King 2:07:49 Mozart - Requiem, K. 626: III. Dies Irae 2:09:56 Verdi - Requiem: II. Dies Irae Budapest Scoring Symphonic Orchestra, Peter Pejtsik 2:12:29 Dvořák - Symphony No. 9 "From the New World": IV. Allegro con fuoco (Live) Orquesta Reino de Aragón, Ricardo Casero