Task: Question Answering
Input (English): Context_1 : The can-can (or cancan as in the original French; ] ) is a high-energy, physically demanding dance which became a popular music hall dance in the 1840s, continuing in popularity in French cabaret to this day. Originally danced by both sexes, it is now traditionally associated with a chorus line of female dancers. The main features of the dance are the high kicks, splits and cartwheels. The "Infernal Galop" from Jacques Offenbach's "Orpheus in the Underworld" is the tune most associated with the can-can. Context_2 : Orphée aux enfers, whose title translates from the French as Orpheus in the Underworld, is an opéra bouffe (a form of operetta), or opéra féerie in its revised version. Its score was composed by Jacques Offenbach to a French text written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux. Context_3 : "Devil's Galop" is a piece of light music composed by Charles Williams. It became famous as the theme tune to the radio serial "Dick Barton – Special Agent". The name "galop" of the title refers to the galop dance (which, in turn, refers to a horse's gallop). Context_4 : Orphism (more rarely Orphicism; Ancient Greek: Ὀρφικά) is the name given to a set of religious beliefs and practices originating in the Ancient Greek and Hellenistic world, as well as by the Thracians, associated with literature ascribed to the mythical poet Orpheus, who descended into the Greek underworld and returned. Orphics also revered Persephone (who annually descended into the Underworld for a season and then returned) and Dionysus or Bacchus (who also descended into the Underworld and returned). Orpheus was said to have invented the Mysteries of Dionysus. Poetry containing distinctly Orphic beliefs has been traced back to the 6th century BC or at least 5th century BC, and graffiti of the 5th century BC apparently refers to "Orphics". Context_5 : In law, the curtilage of a house or dwelling is the land immediately surrounding it, including any closely associated buildings and structures, but excluding any associated "open fields beyond", and also excluding any closely associated buildings, structures, or divisions that contain the separate intimate activities of their own respective occupants with those occupying residents being persons other than those residents of the house or dwelling of which the building is associated. It delineates the boundary within which a home owner can have a reasonable expectation of privacy and where "intimate home activities" take place. It is an important legal concept in certain jurisdictions for the understanding of search and seizure, conveyancing of real property, burglary, trespass, and land use planning. Context_6 : Tenarus (Ancient Greek: Ταίναρος ) was an ancient town of the Peloponnesus, in Laconia (Sparta), on the promontory of Taenarum (modern day Cape Matapan). A cavern near Tenarus was considered the entrance to Hades, through which Heracles dragged Cerberus from the underworld in his 12th labor, and also through which Orpheus led Eurydice back among the living. Through this association the infernal world was often styled "Tenarus" among classicist writers. Context_7 : Orpheus ( ; Greek: Ὀρφεύς ) is a legendary Thracian musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on his ability to charm all living things and even stones with his music, his attempt to retrieve his wife, Eurydice, from the underworld, and his death at the hands of those who could not hear his divine music. As an archetype of the inspired singer, Orpheus is one of the most significant figures in the reception of classical mythology in Western culture, portrayed or alluded to in countless forms of art and popular culture including poetry, film, opera, music, and painting. Context_8 : Eurydice is a 2003 play by Sarah Ruhl which retells the myth of Orpheus from the perspective of Eurydice, his wife. The story focuses on Eurydice's choice to return to earth with Orpheus or to stay in the underworld with her father (a character created by Ruhl). Ruhl made several changes to the original myth's story-line. The most noticeable of these changes was that in the myth Orpheus succumbs to his desires and looks back at Eurydice, while in Ruhl's version Eurydice calls out to Orpheus (causing him to look back) perhaps in part because of her fear of reentering the world of the living and perhaps as a result of her desire to remain in the land of the dead with her father. Ruhl's script has been explicitly written so as to be a playground for the designer of the sets. Context_9 : Hadestown is the fourth album by Vermont-based Anaïs Mitchell, and was released by Righteous Babe Records in the U.S. on March 9, 2010. The album, a concept album, follows a variation on the Ancient Greek myth of Orpheus and Eurydice, where Orpheus must embark on a quest to rescue his wife Eurydice from the underworld. It has been advertised as a 'folk opera'. Several of the songs feature singers other than Mitchell, including Justin Vernon (better known as lead vocalist and guitarist of Wisconsin-based band Bon Iver), Ani DiFranco, Greg Brown, and Tanya, Petra and Rachel Haden (referred to in the track listing as 'The Haden Triplets'). Context_10 : Operas based on the Orphean myths, and especially the story of Orpheus' journey to the underworld to rescue his wife, Eurydice, were amongst the earliest examples of the art form and continue to be written into the 21st century. Orpheus, the Greek hero whose songs could charm both gods and wild beasts and coax the trees and rocks into dance, has achieved an emblematic status as a metaphor for the power of music. The following is an annotated list of operas (and works in related genres) based on his myth. The works are listed with their composers and arranged by date of first performance. In cases where the opera was never performed, the approximate date of composition is given. fact_1 :  The "Infernal Galop" from Jacques Offenbach's "Orpheus in the Underworld" is the tune most associated with the can-can. fact_2 :  Its score was composed by Jacques Offenbach to a French text written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux. Question: Who composed the tune most closely associated to the "Infernal Galop" as part of the "Orpheus in the Underworld" opera?
Output (English): Jacques Offenbach