Offenbach: Orphée aux Enfers
The myth of Orpheus and Eurydice is one of opera's most potent archetypes, the subject of the earliest experiments in the genre by Peri andMonteverdi.  But Offenbach's wickedly witty operetta uses it as a vehicle to lampoon stuffy artistic conventions as well as the social and political realities of Paris in the Second Empire. In this sublimely ridiculous scenario, Eurydice is a flighty flirt only too happy to be separated from husband Orpheus, a dullard violin teacher, when Pluto kidnaps her into his realm.  At the promptings of the moralistic figure Public Opinion, Orpheus reluctantly plays out the prescribed mythic pattern of trying to reclaim his wife, while a depraved assortment of gods intervenes. The collision here of sacrosanct myth withopera buffaseems almost to anticipate aspects of Strauss'sAriadne auf Naxos; there is, to be sure, no mistaking an artistic lineage that leads to the romps of Gilbert and Sullivan. Marc Minkowski teases Offenbach's over-the-top parodies (an irreverent quote of Gluck's "Che faro senza Eurydice," for example) and stylistic gear-changes into an irresistibly fizzy concoction, using essentially the original 1858 version with additions from the expanded score of 1874.  The orchestra brings out the exuberance of Offenbach's persistent dance rhythms--whether waltz based or in the famous can-cangalopof the bacchanalian finale--as well as the tune-rich nature of the score.  And the cast sparkles, featuring the crystalline acrobatics of Natalie Dessay's Eurydice, Ewa Podles in dusky, scornful contralto as Public Opinion, and Laurent Naouri as a horny Jupiter--to mention just a few of the treats in store here.--Thomas May