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Orphée aux enfers (Orpheus in the Underworld) • When I Was Monarch of Boeotia

Clássico/Opereta • 1858 • Lírico: Ludovic Halévy • Titulo arternativo: Orphée aux enfers
 
     
 

When I Was Monarch of Boeotia

Título por Autor: Orpheus in the Underworld - When I Was Monarch of Boeotia


9.99 USD

ler a lisença
15.99 USD

vendedor Dario Salvi
PDF, 8.98 Mb ID: SM-000211241 data do carregamento: 20 set 2014
Instrumentação
Flauta, Flauta piccolo, Clarinete, Fagote, Oboé, Trompa francesa, Violino, Viola, Violoncelo, Contrabaixo, Tenor, Barítono
Composição para
Solo, Orquestra Sinfônica
Tipo de composição
Partitura completa, Partes
chave
Lá (A) maior
Arrajador
Dario Salvi
Editora
Dario Salvi
idioma
Inglês
For Baritone/Tenor and Orchestra.
All Parts are included!

Orphée aux enfers (Orpheus in the Underworld) is an opéra bouffon (a form of operetta), or opéra féerie in its revised version, by Jacques Offenbach. The French text was written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux.

The work, first performed in 1858, is said to be the first classical full-length operetta. Offenbach's earlier operettas were small-scale one-act works, since the law in France did not allow certain genres of full-length works. Orpheus was not only longer, but more musically adventurous than Offenbach's earlier pieces.

This also marked the first time that Offenbach used Greek mythology as a backdrop for one of his buffooneries. The operetta is an irreverent parody and scathing satire on Gluck and his Orfeo ed Euridice and culminates in the risqué Galop infernal ("Infernal Galop") that shocked some in the audience at the premiere. Other targets of satire, as would become typical in Offenbach's burlesques, are the stilted performances of classical drama at the Comédie-Française and the scandals in society and politics of the Second French Empire.

The "Infernal Galop" from Act II, Scene 2, is famous outside classical circles as the music for the "can-can" (to the extent that the tune is widely, but erroneously, called "can-can") . Saint-Saëns borrowed the Galop, slowed it to a crawl, and arranged it for the strings to represent the tortoise in The Carnival of the Animals.
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