Chroniques et points de vue:

From :
0rpheus in the Underworld (0rphée aux Enfers), 0ffenbach's riotous parody of the dissipations of French life in the Second Empire, fairly gallops past in this 1997 Herbert Wernicke production staged at the Theatre de la Monnaie in Brussels. Based on 0ffenbach's meatier second version (1874) of the 0rpheus legend, it features nicely judged performances across the board, some stunning special effects, and plenty of satire.

The casting is excellent, with Jacqueline van Quaille's chain-smoking dowager Juno heading the field. Alexandru Badea's 0rpheus subverts the legend in his purely pragmatic pursuit of Eurydice (the thrush-voiced soprano Elizabeth Vidal) that has nothing to do with love. Dale Duesing's Jupiter is sexy, particularly in the very funny fly scene in the second act. From first to last, Wernicke's production offers something to catch the eye and ear, culminating in the well-loved, frantic cancan finale. 0verall this is not only well sung but very entertaining. --Piers Ford









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Note: - It's a Hell of a Story
Although I must admit I was somewhat baffled by the plot (most likely because I was trying not to read the subtitles and simply listen to the French), I thought the singing and acting superb. Our 14-year-old son understandably was not as enthusiastic nor was my husband, but there were times when we all laughed out loud. I personally like the opening scene - and wonder if the actor/singer were actually playing the violin (it looked convincing, anyway). Perhaps if we knew more about the 2nd Empire or a European lifestyle we would have "gotten it" more, too, but it was enjoyable.

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Note: - Could be peppier
I don't think this is as awful as other reviewers say, but it's not as effective as the amazon.com reviewer claims, either.

Musically, I prefer the Michel Plasson-directed Orphee on EMI. It's both more sprightly and more profound, capturing the full range of Offenbach's unique genius.

The singing here is generally lovely (with some exceptions), and the set fantastic. There are some wonderful visual moments, but the pace isn't quite exciting or dramatic enough, ditto the comedic moments, and the choreography could be more imaginative.

PBS did a brilliant one decades ago that I've rarely seen or heard surpassed; sadly, it's not available.

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Note: - * worst DVD ever? ...
Beyond belief. So bad it just lays there. How could anyone ever produce, film or release this mess on DVD? Poor Offenbach. The Kent Nagano "Tales of Hoffman" was awful but nothing like this. The perfect gift for your worse enemy.

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Note: - A terrible travesty
Everybody is having a very good time in this performance; it is a farce. Offenbach composed a satire, and there is a difference. This is so poorly sung, conceivably by the Newark Light Opera Company, and as bad as the English language version I saw at Sadler Wells some years ago in London. I concluded that the English should leave Offenbach alone, and that the French should, in return, leave Gilbert and Sullivan alone. Everything backfires in a farce that isn't even funny. Perhaps it should not have been staged in Brussels, more famous for its chocolate than its music.

The fantastic music drags, the political and mythological satire is almost lost in comic antics, and the muscial satire on Gluck's great setting of the work gets lost in a nit-wit production.

I was brought up on the old Rene Leibowitz recording, now probably in Hades as well, and I own the recent recording by EMI with Natalie Dessay, and the great Eva Podles doing Public Opinion in her somewhat infamous low-alto, basso-profundo range.
If not the ideal total performance, it makes Offenbach's music and satire work to great effect, as opposed to this silly bit of incompetence, which anybody knowing the piece should avoid like a stinking zebra.

Why this version was released, and,indeed, well reviewed by your editor, remains beyond my comprehension. A friend watching it with me was as utterly bored as I was.