The performers in this production were students in the Department of Voice and the University Symphony Orchestra. The designers for this production were students, faculty, and/or guests of SMTD. Scenery, costumes, properties, sound, and lighting were realized by the students and staff of University Productions, the producing unit of the SMTD. Thank you for supporting our educational mission.

Licensing

ORPHEE AUX ENFERS (the OEK CRITICAL EDITION: 1858 VERSION) is used by arrangement with Bote & Bock Berlin and Boosey & Hawkes, publisher and copyright owner.

Additional excerpts from ORPHEE AUX ENFERS by Jacques Offenbach (pub. HEUGEL) is presented under license from G. Schirmer Inc. and Associated Music Publishers, copyright owners.

English translation for ORPHEE AUX ENFERS (JEREMY SAMS TRANSLATION) is used by arrangement with Boosey & Hawkes, Inc., Agent in the USA for Josef Weinberger, Ltd., London, publisher and copyright owner.

Hector Crеmieux (Libretto, 1828–1892) was a French dramatist whose work was heavily inspired by the politics of his day. During the revolution of February 1848, he secured a commission as lieutenant of the Garde Mobile. The turbulent French political landscape he grew up around inspired Crémieux to adapt the history of [Giovanni Luigi] Fiesco, from the German of Friedrich Schiller, for the French stage. The emperor, solicitous to bestow political patronage upon those who had been daring enough to give him support in the risky affair of December 2, rewarded Crémieux in 1852 with a clerkship in the Ministry of State. This patronage enabled him to enter upon a literary career and to exploit the financial possibilities of the Parisian stage of the second empire. Crémieux had a long and illustrious theatrical career, but to this day his most famous work remains Orpheus in the Underworld. Sadly, Crémieux committed suicide in 1892.

—Bio excerpted from Jewish Encyclopedia

Ludovic Halévy (Libretto, 1834–1908) was born in Paris. His uncle, Fromental Halévy, was a noted composer of opera; hence the double and early connection of Ludovic Halévy with the Parisian stage. In 1855, he became acquainted with the musician Offenbach. His first work was produced under the pseudonym of Jules Servières. The name of Ludovic Halévy appeared for the first time on the bills on January 1, 1856. Soon afterwards, the unprecedented run of Orpheus in the Underworld, written in collaboration with Hector Crémieux, made his name famous. Late in life, Halévy remained an assiduous frequenter of the Academy, the Conservatoire, the Comédie Française, and the Society of Dramatic Authors, but, when he died in Paris on 7 May 1908, he had produced practically nothing new for many years.

—Bio excerpted from the Opera San Jose

Jacques Offenbach (Composer, 1819–1880) is a French composer of German origins (he became a naturalized French citizen in 1860) who wrote some of the most attractive and melodious music for the stage during the middle years of the nineteenth century. While his final work, the opéra fantastique The Tales of Hoffmann, is one of the most significant French operas of the nineteenth century, Offenbach’s main achievement is in the field of operetta, in which he excelled, producing almost 100 examples. Several operettas continue to keep a place in the repertory, notably Orpheus in the Underworld and La belle Hélène, which, though based on ancient myth, mercilessly satirize Napoleon III’s Second Empire and Parisian society of the day.

—Excerpted from the English National Opera

“In short, the operetta made a mock of all the glamour that surrounded the apparatus of power.” (Kracauer 207)

Given that it is an adaptation of a classic Greek myth, Offenbach naturally baked elements of the Greek tragedies into this opera, including the chorus that acted as a collective voice to provide insight and emotional reactions to the audience for the action onstage. Hailing from the Greek dythramb, a choral hymn sung about gods and heroes, these odes served as a rhythmic bridge of social commentary between the performers and the audience. Offenbach took a different approach, however, with his version of the chorus; instead of a collective, it is a singular character, specifically named Public Opinion. Myths explore themes of moral and ethical dilemmas. Between the hubris and hamartia of the tragic heroes and heroines and gods manipulating mortal lives, these chanted or sung conversations were central to understanding the mythology. In Jacques Offenbach’s Orphée aux Enfers, Public Opinion acts as the voice of reason or the conscience that frames, moderates, and influences the action – or at least it serves as a voice that attempts to rein in the excess represented by Orpheus’ languid dismissal of his wife’s betrayal and exposes the hedonistic and mercurial nature of the ruling Olympus elite. The choice to personify this conscience as a singular individual rising up against patriarchal order in such a satirical landscape plays into the hilarity of the peeling back the glamour (and gender identity) of those in power. We may see one person, but within their voice is a critique of societal convention or perhaps a warning to power that strength lies in the unexpected.

Because Offenbach carved liberation through flouting the conventional opera of his time, in this opera bouffe, he chose to portray Public Opinion as a mezzo-soprano and as a female-identifying individual. He gave the voice of the collective Greek chorus, originally consisting of only male actors, to someone who historically was not given a voice. In a similar vein, this opera satirizes the institution of marriage, portraying it as a source of unhappiness and an obvious path for infidelity. Characters such as Venus and Eurydice actively pursue romantic fulfillment outside of their “stations.” This emphasis on female agency aligns with emerging feminist ideas of the time, as well as Offenbach’s desire to overturn entrenched social orders, as the libretto narrates from the perspectives of Eurydice and Public Opinion and portrays women who make their own choices in matters of love, relationships, and sexuality.

Towards the finale, the Can-can dance with its iconic music is shown. Originating from the working class of 1820s Paris, the Can-can started as a partner dance or a quadrille. In the partnering version, the Can-can took after the galop and the polka and did not allow for improvisation. Eventually, men started to break off and perform about a minute of solo improvisational dance. As time went on, women took the center stage with these moments, or can-cans. The Can-can was not merely a dance but a cultural phenomenon that embodied themes of female empowerment and personal freedom. While the Can-can was focused on female liberation in the 19th century, we can now view it in a more intersectional lens. This means including marginalized communities, BIPOC, and LGBTQ+ in the conversation of liberation through the art of dance. Ending this iconic opera with a crowd-pleasing dance that celebrates life and the liberation of identity reminds us that there is purpose behind the satirical take on power and glamour; it highlights that, beneath the veneer of societal conventions and grandiosity, everyone has the fundamental human desire for freedom, self-expression, and agency.

Read more from the dramaturgy team here >>

As a director, I am invariably drawn to the questions of “why then” and “why now” when embarking on a new production. This contemplative journey seeks to unearth the motivations that stirred the souls of the original creators in their specific era and, more critically, to discern how we can articulate their timeless message in the language of our present time.

Offenbach’s Orpheus in the Underworld is a masterpiece that not only captivates but also delves into the intricate socio-political tapestry of its time. What struck my curiosity was Offenbach’s turbulent relationship with personal finance during the opera’s creation. Pursued relentlessly by debt collectors and yearning for coveted commercial success, he ingeniously crafted a satire on the fabric of capitalism. The opera casts a brilliant spotlight on a world where the pursuit of wealth often overshadows moral considerations, an era where material gain supersedes all else, fostering the audacious belief that mere mortals can “play God.” The production artfully positions the realm of privilege in the spotlight, revealing that the actions of the elite more often serve the purpose of preserving their dominion over the masses than invoking divine benevolence.

Orpheus in the Underworld is a mirror that reflects not only the capricious antics of the deities but also our contemporary world. It teases out the subtleties and complexities within the upper echelons of society, a world painted in various shades of gray. In stark contrast to the categorical judgments of “Public Opinion,” the real world dances in the nuanced gray areas where the moral compass sometimes wavers.

Our production also delves into the lives of Eurydice and Orpheus, who, like many of us, are reminded by “Public Opinion” that they, as members of the middle class, are the backbone of society. But are they truly? Does “Public Opinion” genuinely wield influence over their lives, or is it merely an illusion of power?

One facet of this production that fills me with immense pride is the significant participation of undergraduate students who dare to take on leading roles. This triumph reinforces our unwavering belief that there should be no boundaries between undergraduate and graduate performance opportunities. It embodies the very ethos of our opera program, where a performer, regardless of their academic standing, finds a thriving stage on which to shine. This inclusivity stands as a testament to our commitment to nurturing and presenting talent at all levels, underscoring the cherished values that define us.

While Orpheus in the Underworld may be renowned for the infectious Can-Can, it offers much more than meets the eye. This whimsical production invites us to contemplate the interplay of wealth, privilege, and power – a theme as relevant today as it was in Offenbach’s time. I invite you to relish this performance, a fusion of amusement and intellectual stimulation, a platform for our gifted students to radiate their brilliance.

Thank you for joining us on this exhilarating journey. Enjoy the show!

Mo Zhou, Stage Director

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