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ORPHEUS IN THE
UNDERWORLD
STUDY GUIDE
2015-2016 SEASON
~1~
ORPHEUS IN THE UNDERWORLD
Music By
Jacques Offenbach
Libretto by
Hector Cremieux and Ludovic Halévy
Table of Contents
Cast of Characters……………………………………………………………………….pg.3
Brief Summary…………………………………………………………………………..pg.4
Full Plot Synopsis and Musical Highlights……………………………………………...pg.6
Historical Background…………………………………………………………………...pg.15
Biographical Sketch of Offenbach………………………………………………………pg.16
Discussion Questions……………………………………………………………………pg.18
A Short History of Opera………………………………………………………………..pg.19
The Operatic Voice……………………………………………………………………...pg.20
Opera Production………………………………………………………………………..pg.22
SOL’s……………………………………………………………………………………pg.23
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Orpheus in the Underworld
Premiere
First performance: October 21, 1858 at the Théâtre des Bouffes-Parisiens in Paris, France
Cast of Characters
Public Opinion…………………………………………………………….
Eurydice, a nymph; wife of Orpheus………………………. …………….
Pluto, god of the underworld (disguised as the shepherd Aristeus)……..
Orpheus, a musician……………………………………………………….
Jupiter, king of the gods…………………………………………………..
Cupid, god of love………………………………………………………..
Diana, goddess of chastity……………………………………………….
Venus, goddess of beauty………………………………………………...
Minerva, goddess of wisdom……………………………………………
Morpheus, god of sleep………………………………………………….
Juno, wife of Jupiter……………………………………………………..
Mercury, messenger of the gods…………………………………………
John Styx, servant of Pluto, once the king of Boeotia…………………..
Mars, god of war…………………………………………………………
Bacchus, god of wine…………………………………………………….
Gods, goddesses, shepherds, nymphs and underworld spirits……………
Mezzo-soprano
Soprano
Tenor
Tenor
Baritone
Soprano
Soprano
Contralto
Soprano
Tenor
Mezzo-soprano
Tenor
Baritone or tenor
Bass
(speaking role)
Chorus
~3~
Brief Summary
Settings: a cornfield near Thebes; Olympus; Hades (the Underworld)
Act 1
Public Opinion introduces herself to the audience, explaining her role in the story to come. In ancient
Thebes, Eurydice, wife of Orpheus, is picking flowers, singing of her infatuation for the shepherd
Aristeus. Orpheus enters, playing his violin, momentarily mistaking his wife for his mistress, the nymph
Cynthia. Eurydice tells her husband she finds him boring. Orpheus attempts to charm her with a serenade,
but she complains about the noise. When Eurydice demands that they separate, freeing her to love
Aristeus, Orpheus says no, explaining that he is a slave to Public Opinion. He exits, warning Eurydice
that her lover should stay out of her cornfield.
Aristeus enters, singing a pastorale. Eurydice tells him that Orpheus knows of their affair and that
she suspects her spouse of laying a trap for the shepherd in the cornfield. Aristeus ignores her concern and
invites her to join him. Upon doing so, Eurydice is struck dead as Aristeus reveals that he is really the
god Pluto. Eurydice notes that being dead isn’t as bad as she had always imagined. At Pluto’s bidding,
she leaves a farewell note for Orpheus before descending with the god to Hades.
Orpheus, discovering the note, is relieved to realize he is now free to pursue Cynthia. Public
Opinion storms in, outraged at the musician’s attitude. She demands that he bring Eurydice back from the
Underworld. When Orpheus protests that he hates his wife, Public Opinion threatens to start scandalous
rumors about him. With great reluctance, he agrees to retrieve Eurydice
At Olympus, the gods sleep, complaining that there is nothing else to do. Diana enters, distraught
over the disappearance of her lover Actaeon. Jupiter explains that her affair was inappropriate for a chaste
goddess, so he changed Actaeon into a stag for her own good. He goes on to berate all the gods for their
moral laxness, upon which Juno implies that he’s a hypocrite. Mercury joins them, informing the gods
that Pluto is keeping company with Eurydice. At that, Pluto enters, comparing life on Olympus with that
in Hades. The gods, fed up with ambrosia and nectar, revolt against Jupiter, calling him out on his own
immoral behavior. Mercury announces that Orpheus has arrived. Goaded by Public Opinion, Orpheus
reluctantly bids the gods return Eurydice to him, naming Pluto as her captor. Jupiter, secretly hoping for
a new romantic conquest, agrees to restore Eurydice. The other gods demand to accompany Jupiter on his
trip to Hades. He agrees, prompting a joyful hymn of praise.
Act 2
In Hades, Eurydice complains about her treatment by Pluto. She is guarded by the love-struck jailer John
Styx, who attempts to impress her with tales of his past glory. When Pluto approaches with Jupiter in tow,
Styx conceals Eurydice. Pluto denies that he has Eurydice, but Jupiter guesses the room in which she’s
being held. With the help of Cupid, he changes into a fly to gain entry through a keyhole. A passionate
love duet follows for Eurydice and Jupiter, who can only make buzzing sounds. Eurydice declares her
love for the fly, upon which Jupiter reveals his true identity and promises to take her out of Hades during
Pluto’s party.
~4~
The gods have gathered in Hades for a wild party. Eurydice, in disguise as a priestess of Bacchus,
sings a hymn of praise to the king of revelry. Dancing follows: a sedate minuet and the galop infernal,
during which Jupiter and Eurydice hope to slip out unnoticed. Pluto intercepts them, reminding Jupiter
that he has pledged to return Eurydice to Orpheus, whose violin-playing is now heard drawing near.
When the musician enters with Public Opinion alongside, Jupiter cuts short his half-hearted request,
agreeing to return Eurydice to him on one condition: on their way back from the Underworld, Orpheus
must not turn around and look at her. When it appears that Orpheus intends to heed this warning, Jupiter
throws a lightning bolt in his direction. The thunderclap causes Orpheus to turn around, meaning he has
lost his wife forever. There is general rejoicing by all parties, with a reprise of the galop infernal.
~5~
Orpheus in the Underworld
Full Plot Synopsis and Musical Highlights
ACT 1
Before the action begins, a woman speaks directly to the audience. Introducing herself as Public
Opinion, she explains that her role is not only to comment on the story to come, but to take part as well,
for it is her job to ensure that decent moral standards are upheld. Eurydice enters, picking flowers and
waiting for her lover, the shepherd Aristeus who lives next door
Not finding Aristeus, Eurydice is dismayed to see her husband approaching: Orpheus the
musician. Mistaking his wife for his lover, the nymph Cynthia, Orpheus begins playing a
serenade on his violin. Eurydice suggests they both end the hypocrisy of their marriage and
separate, going on to declare in no uncertain terms her utter hatred of him. In an argumentative
duet, Orpheus attempts to change her mind by playing his latest violin composition:
Eurydice can’t stand his music, repeating her demand that they part ways for good.
Orpheus reluctantly explains that, as a prominent musician, he is a slave to Public Opinion and
must guard his reputation. With a warning to his wife to keep her lover out of the corn field, he
departs.
~6~
Now Aristeus appears to the accompaniment of a “Ballet Pastoral”.
He sings a song in which he delights in the simple joys of a shepherd’s life:
When Euridce tells the shepherd of her husband’s warning to stay out of the corn field,
Aristeus scoffs, inviting her to join him. Against her better judgement, Eurydice enters the field
and is immediately struck dead. In the same moment, Aristeus reveals his true identity: he is
Pluto, god of the Underworld. To her surprise, Eurydice observes that being dead isn’t as
unpleasant as she’d always imagined.
~7~
Eurydice leaves a sardonic farewell note for Orpheus; then she and Pluto descend into the
underworld realm of Hades.
Returning, Orpheus discovers the note and begins to offer praise to Jupiter for ridding
him of his wife, only to face the wrath of Public Opinion, who demands that he go after Eurydice
and bring her back. Orpheus protests, but when Public Opinion threatens to start ugly rumors
about him he reconsiders. Public Opinion offers to accompany him on his journey:
The scene shifts to the home of the gods on Olympus, where the deities are plagued with
ennui. Minerva, Hebe, Cybele and others confess that they sleep for lack of anything else to do:
The calm is broken by the entrance of Diana, who is distraught over the failure of her
lover Acteon to meet her for their planned tryst:
~8~
Jupiter, who was disgusted that the goddess of chastity would carry on an affair, explains
that he changed Acteon into a stag. There is a general discussion of bad behavior amongst many
of the gods, who respond that they’re tired of nectar and bored with Olympus. When Jupiter
orders them away, his wife Juno intimates that Jupiter’s lectures are more than a little
hypocritical. She is interrupted by the arrival of fleet-footed Mercury with his daily news
bulletin:
Mercury has big news: Pluto abandoned his post in the Underworld for several days and
has now returned with a mortal woman, Eurydice. With that, Pluto himself enters, only to face
Jupiter’s stern disapproval. The gods return, feeling restless and angry. Pluto attempts to calm
them in a song praising the charms of Olympus, but the gods are having none of it, crying out for
in revolt.
~9~
The deities are fed up with Jupiter’s failure to practice the morality he’s always
preaching; they sing a chorus detailing his immoral escapades:
This creates a moment of marital discord for Jupiter and Juno which is cut short by
Mercury’s announcement that two visitors have arrived: Orpheus and Public Opinion. Pluto, for
one, is not happy at this turn of events:
Jupiter demands to know the reason for Orpheus’s appearance. Reluctantly, due only to Public
Opinion’s insistence that he act the bereft husband, Orpheus launches into an unenthusiastic plea
for the return of Eurydice, using a theme from Gluck’s famous opera Orfeo ed Euridice:
~ 10 ~
Not only does Jupiter agree to grant this request, but he decides to visit Hades in order to
ensure that Pluto obeys his command. At this, the other gods, eager for a break from the boredom
of Olympus, beg to go with him. When he agrees, all the gods break into a hymn of praise to
Jupiter:
ACT 2
The scene shifts to Hades, where Eurydice is finding life in the Underworld not the
experience she’d been expecting. Rather than reigning as Pluto’s Queen, she is imprisoned in a
small cell, complaining of her lot:
~ 11 ~
Eurydice has an admirer, the jailer John Styx, who drunkenly proclaims his love for her.
When she reacts with disgust, John attempts to impress her with the tale of his former existence
on Earth, where he was King of the Beotians:
Pluto enters, relieved to see that Eurydice is safely out of sight. He is leading Jupiter on a
tour of the Underworld. The latter demands to know where Eurydice is, but Pluto denies that she
is in Hades. Spotting a closed door, Jupiter deduces that he has found Eurydice’s hiding place
and quietly slips his calling card through the keyhole.
He and Pluto join the rest of the gods, where Cupid (who is aware that Jupiter wants
Eurydice for himself) offers some practical advice on the subject of romance:
Meanwhile, Eurydice has found Jupiter’s card. The god himself, in order to gain access to
her cell via the keyhole, changes himself into a common fly and buzzes right in. The woman,
grateful for any company, sings a love duet with the insect in which Jupiter’s part is, obviously,
limited:
~ 12 ~
Revealing his true identity to the love-struck Eurydice, Jupiter cooks up a scheme to
escape with her. She will disguise herself and join the depraved party which Pluto is hosting.
When the action is at its wildest, she and Jupiter will slip out unnoticed.
The gods are enjoying the wild scene at Pluto’s party, where the dancing is spirited and
the wine flows freely. Jupiter leads them in a hymn to Bacchus, god of wine. Next, Jupiter calls
for a stately minuet, choosing Eurydice as his partner, thus arousing Pluto’s suspicion. The gods
don’t care for the prim decorum of this dance:
Fed up with a slow dance, the company kicks up their heels with a lively galop infernal:
~ 13 ~
Spotting the best opportunity to escape, Eurydice calls on Jupiter to flee; however, his
dancing has left him a bit winded. Pluto intercepts them, angrily barring their way. He reminds
them of Orpheus’s claim on his estranged wife just as the latter’s violin-playing is heard nearing
the Underworld.
Orpheus and Public Opinion disembark from their boat, joining the gods. The musician
formally requests the return of Eurydice, and Jupiter formally agrees – with one caveat. On their
way back to earth, Orpheus must lead the way and on no condition look back at his wife. If he
fails to obey these instructions, he will lose Eurydice forever.
To dismay of all, Orpheus is looking straight ahead as directed as he begins his journey.
Jupiter unleashes a thunderclap and a lightning bolt in Orpheus’s direction. Startled, he turns
around and thus frees Eurydice forever. When Pluto begins to claim Eurydice as his own, Jupiter
declares that henceforth she shall belong to Bacchus. This causes joyful celebration among
everyone else, including husband and wife; all join in with a reprise of the galop infernal as the
curtain lowers.
~ 14 ~
Orpheus in the Underworld
Historical Background
Well-established as a cellist and conductor in the Parisian musical scene, Offenbach
longed to compose for the theater but the famed Opéra-Comique was disinclined to take a chance
on an inexperienced composer. Undaunted, Offenbach leased his own theater, the Théâtre des
Bouffes-Parisiens, where he composed and conducted a number of well-received one-act
operettas.
The modest dimensions of these earlier works were a result of limitations imposed by
French law, which issued theatrical licenses governing the number of performers permitted in a
music-theater piece.
Orpheus in the Underworld, then, represented a milestone not only for Offenbach but for
French operetta in general. In two acts rather than one, Orpheus boasted a large cast with over a
dozen principal roles, an expanded orchestra and a more elaborate musical score.
For his subject, Offenbach turned to Greek mythology for the first time; he would later
set the story of Helen of Troy. The libretto was written by Ludovic Halévy and Hector-Jonathan
Crémieux. Offenbach had three targets for his biting satire, mocking 1) classical mythology; 2)
contemporary French society and government; and 3) grand opera, specifically Christoph
Willibald Gluck’s celebrated masterpiece Orfeo ed Euridice 1762.
With a carefully-chosen cast of the composer’s own choosing, the operetta opened on
Oct. 21, 1858 with moderate success. Some critics hailed it as a jewel, but others were
unforgiving of the perceived “sacrilege” of the irreverent tone of the libretto. Typical of these,
the critic Jules Janin, dismissed Orpheus as a "profanation of holy and glorious antiquity”. The
resulting scandal and notoriety had the effect of making the show the talk of Paris. When
Orpheus re-opened after a short hiatus, it became a break-out hit, launching thousands of
performances not only in Paris, but all over the globe. It has never left the standard repertoire
since. The Galop infernal of Act 2 has achieved a separate performance history of its own, being
by far the most famous excerpt in the operetta. Often mistakenly referred to as a “Can-Can”, a
genre unknown to Offenbach, the Galop has become an iconic tune in popular culture,
symbolizing rowdy, slightly racy fun.
Hoping to re-invigorate the success of his first hit, Offenbach prepared a newly-expanded
version that premiered in Paris in 1874. It was now a full-length work in four acts, with many
new musical numbers. Standard practice in modern times has favored the original two-act
version, though sometimes incorporating music from the revised edition
~ 15 ~
Orpheus in the Underworld
The Life of Offenbach
Jacques Offenbach began life as a German in the city of Cologne on June 20,
1819.Hisfather was a music teacher, composer and cantor who also worked at bookbinding.
Required by law in 1807 to have an inheritable family name, his father had changed his name
from (Isaac Juda) Eberst to Offenbach, the name of the town near Frankfurt where he had been
born.
Music lessons for Jakob and his siblings began early. He began with the violin but by the
age of nine had switched to the cello. The Offenbach children formed a family trio of the violin,
cello and piano and performed professionally in many local engagements. When Jakob was
fourteen his father took him to Paris to attend the Conservatoire and further his study of the cello.
After leaving the Conservatoire he found employment in the orchestra of the Opéra Comique
while continuing his study of the cello. He also pursued his interest in composition by becoming
a student of opera composer Fromenthal (Jacques) Halévy. During these early years in Paris,
Jakob adopted the French spelling of his name, Jacques. By the time he left the Opéra Comique
orchestra he was one of the finest cellists in Europe and was additionally composing larger, more
complex works.
In the next stage of his life he traveled and established a lucrative performance career. He
formed a partnership with the composer/pianist Friedrich Von Flotow and also performed with
Franz Liszt and Anton Rubenstein. In 1844 he traveled to London and performed a series of
concerts with Felix Mendelssohn. That same year he converted to Catholicism and married. A
few short years later he moved his family to Cologne for more than a year to escape the social
upheaval associated with the revolution in 1848.
After returning to Paris, Offenbach became the conductor of the orchestra of the Théâtre
Français in 1850. Offenbach also continued his practice of composing short musical works for
the theater. His music was very well received. In 1855 he formed his own theater company, the
Opera Bouffes, and began forging a new career composing and staging popular musical theater
works called operettas. His first major success was Orpheus in the Underworld, which premiered
in October 1858. Other popular operettas, among more than 90 works, were La Belle Hélène
(1864), Barbe-bleue (1866), La Vie Parisienne (1866), La Grande-duchesse de Gerolstein (1867)
and La Périchole (1868). Offenbach is credited with creating the operetta genre and also
influenced such composers as Johann Strauss II, Franz Lehár and Arthur Sullivan. He became a
French citizen in 1860.
~ 16 ~
The French defeat in the Franco-Prussian War of 1870-71 ushered in a more somber
period in French theater where the lighthearted frivolity of Offenbach’s operettas were now not
well received. He was almost ruined financially and was not able to recover for several years. In
1876 he made a highly successful concert tour of the United States. His great popularity in
America helped him recoup his financial losses. He also staged many of his works in Great
Britain to pubic acclaim.
In the later years of his life Offenbach focused on demonstrating his ability to write serious
music for the opera stage. He chose as his subject the German writer and composer E.T.A.
Hoffmann and some of his fantastical stories. He collaborated with librettist Jules Barbier who,
along with Michel Carré, had written a play about Hoffmann that Offenbach admired. Offenbach
was still in the process of composing THE TALES OF HOFFMANN when he died on October
5, 1880. He had completed most of the opera, but in a piano vocal score form. His friend,
composer Ernest Guiraud, prepared the opera for staging and orchestrated the piano score. In the
process, some of Offenbach’s original intent was lost.
In recent years the discovery of some of Offenbach’s original manuscripts have made it
possible for the opera to be presented in a form more closely aligned with the composer’s
desires. THE TALES OF HOFFMANN successfully premiered some three months after
Offenbach’s death. He is buried in the Montmartre Cemetery in Paris. THE TALES OF
HOFFMANN established Offenbach’s legacy as the composer of serious opera as well as lighthearted operettas, all of which are regularly performed today.
~ 17 ~
Orpheus in the Underworld
Discussion Questions
1.
In what way does the libretto of the operetta differ from the original story of Orpheus and
Eurydice in Greek mythology? What elements of the original story have been retained?
2.
Given that the depiction of the gods was, in part, intended as a satire on the French
political leadership, what can we infer about Offenbach’s views on the government of his day?
3.
Discuss the function of the character called Public Opinion. Do you believe that public
opinion in our own time is as consistently moralistic in tone as it is shown in Orpheus?
4.
In your opinion, is the quotation of the aria from Gluck’s opera intended in a meanspirited, disrespectful way? What might have been Offenbach’s motivation in poking fun at
serious opera?
5.
Can you think of any examples from recent popular culture, be it film or theater, of a
work which became popular in part to the notoriety gained from bad reviews from critics?
6.
In your opinion, which of these works corresponds most closely to the tone and nature of
Orpheus in the Underworld?
A) Wagner’s Ring of the Nibelung
B) Lerner and Lowe’s My Fair Lady
C) Mel Brook’s The Producers
7.
Which is more important in casting a production of Orpheus in the Underworld: beauty
of voice, or comic acting skills?
8.
Offenbach’s music is often cited as sounding “quintessentially French”, despite the fact
that he was not a native of France, but rather a German who came to live and work in Paris. Does
it sound “French” to you? If so, in what respect? If not, why not?
9.
Why do you think the revised four-act version of Orpheus of 1874 has proven less
successful than the original two-act version of 1858?
~ 18 ~
A Short History of Opera
The word opera is the plural form of the Latin word opus, which translates quite literally as work.
The use of the plural form alludes to the plurality of art forms that combine to create an operatic
performance. Today we accept the word opera as a reference to a theatrically based musical art form in which
the drama is propelled by the sung declamation of text accompanied by a full symphony orchestra.
Opera as an art form can claim its origin with the inclusion of incidental music that was performed
during the tragedies and comedies popular during ancient Greek times. The tradition of including music as an
integral part of theatrical activities expanded in Roman times and continued throughout the Middle Ages.
Surviving examples of liturgical dramas and vernacular plays from Medieval times show the use of music as
an “insignificant” part of the action as do the vast mystery and morality plays of the 15th and 16th centuries.
Traditional view holds that the first completely sung musical drama (or opera) developed as a result of
discussions held in Florence in the 1570s by an informal academy known as the Camerata which led to the
musical setting of Rinuccini’s drama, Dafne, by composer, Jacopo Peri in 1597.
The work of such early Italian masters as Giulio Caccini and Claudio Monteverdi led to the
development of a through-composed musical entertainment comprised of recitative sections (secco and
accompagnato) which revealed the plot of the drama; followed by da capo arias which provided the soloist
an opportunity to develop the emotions of the character. The function of the chorus in these early works
mirrored that of the character of the same name found in Greek drama. The new “form” was greeted
favorably by the public and quickly became a popular entertainment.
Opera has flourished throughout the world as a vehicle for the expression of the full range of human
emotions. Italians claim the art form as their own, retaining dominance in the field through the death of
Giacomo Puccini in 1924. Rossini, Bellini, Donizetti, Verdi, and Leoncavallo developed the art form through
clearly defined periods that produced opera buffa, opera seria, bel canto, and verismo. The Austrian
Mozart also wrote operas in Italian and championed the singspiel (sing play), which combined the spoken
word with music, a form also used by Beethoven in his only opera, Fidelio. Bizet (Carmen), Offenbach (Les
Contes d’Hoffmann), Gounod (Faust), and Meyerbeer (Les Huguenots) led the adaptation by the French which
ranged from the opera comique to the grand full-scale tragedie lyrique. German composers von Weber
(Der Freischütz), Richard Strauss (Ariadne auf Naxos), and Wagner (Der Ring des Nibelungen) developed diverse
forms such as singspiel to through-composed spectacles unified through the use of the leitmotif. The
English ballad opera, Spanish zarzuela and Viennese operetta helped to establish opera as a form of
entertainment, which continues to enjoy great popularity throughout the world.
With the beginning of the 20th century, composers in America diverged from European traditions in
order to focus on their own roots while exploring and developing the vast body of the country’s folk music
and legends. Composers such as Aaron Copland, Douglas Moore, Carlisle Floyd, Howard Hanson, and
Robert Ward have all crafted operas that have been presented throughout the world to great success. Today,
composers John Adams, Philip Glass, and John Corigliano enjoy success both at home and abroad and are
credited with the infusion of new life into an art form, which continues to evolve even as it approaches its
fifth century.
~ 19 ~
The Operatic Voice
A true (and brief) definition of the “operatic” voice is a difficult
proposition. Many believe the voice is “born,” while just as many hold
to the belief that the voice is “trained.” The truth lies somewhere
between the two. Voices that can sustain the demands required by the
operatic repertoire do have many things in common. First and foremost
is a strong physical technique that allows the singer to sustain long
phrases through the control of both the inhalation and exhalation of breath. Secondly, the voice
(regardless of its size) must maintain a resonance in both the head (mouth, sinuses) and chest
cavities. The Italian word “squillo” (squeal) is used to describe the brilliant tone required to
penetrate the full symphony orchestra that accompanies the singers. Finally, all voices are defined by
both the actual voice “type” and the selection of repertoire for which the voice is ideally suited.
Within the five major voice types (Soprano, Mezzo-Soprano, Tenor, Baritone, Bass)
there is a further delineation into categories (Coloratura, Lyric, Spinto, Dramatic) that help to
define each particular instrument. The Coloratura is the highest within each voice type whose
extended upper range is complimented by extreme flexibility. The Lyric is the most common of the
“types.” This instrument is recognized more for the exceptional beauty of its tone rather than its
power or range. The Spinto is a voice, which combines the beauty of a lyric with the weight and
power of a Dramatic, which is the most “powerful” of the voices. The Dramatic instrument is
characterized by the combination of both incredible volume and “steely” intensity.
While the definition presented in the preceding paragraph may seem clearly outlined, many
voices combine qualities from each category, thus carving an unique niche in operatic history. Just as
each person is different from the next, so is each voice. Throughout her career Maria Callas defied
categorization as she performed and recorded roles associated with each category in the soprano
voice type. Joan Sutherland as well can be heard in recordings of soprano roles as diverse as the
coloratura Gilda in Rigoletto to the dramatic Turandot in Turandot. Below is a very brief outline of
voice types and categories with roles usually associated with the individual voice type.
~ 20 ~
Coloratura
Lyric
Spinto
Dramatic
Soprano
Norina (Don Pasquale)
Gilda (Rigoletto)
Lucia (Lucia di Lammermoor)
Liu (Turandot)
Mimi (La Bohème)
Pamina (Magic Flute)
Tosca (Tosca)
Amelia (A Masked Ball)
Leonora (Il Trovatore)
Turandot (Turandot)
Norma (Norma)
Elektra (Elektra)
MezzoSoprano
Rosina (Barber of Seville)
Angelina (La Cenerentola)
Dorabella (Così fan tutte)
Carmen (Carmen)
Charlotte (Werther)
Giulietta (Hoffmann)
Santuzza (Cavalleria)
Adalgisa (Norma)
The Composer (Ariadne auf
Naxos)
Azucena (Il Trovatore)
Ulrica (A Masked Ball)
Herodias (Salome)
Tenor
Count Almaviva (Barber of Seville)
Don Ottavio (Don Giovanni)
Ferrando (Così fan tutte)
Alfredo (La Traviata)
Rodolfo (La Bohème)
Tamino (Magic Flute)
Calaf (Turandot)
Pollione (Norma)
Cavaradossi (Tosca)
Dick Johnson (Fanciulla)
Don Jose (Carmen)
Otello (Otello)
Baritone
Figaro (Barber of Seville)
Count Almavira (Le nozze di Figaro)
Dr. Malatesta (Don Pasquale)
Marcello (La Bohème)
Don Giovanni (Don
Giovanni)
Sharpless (Madama
Butterfly)
Bass
Bartolo (Barber of Seville)
Don Magnifico (Cenerentola)
Dr. Dulcamara (Elixir of Love)
Leporello (Don Giovanni)
Colline (La Bohème)
Figaro (Marriage of Figaro)
Verdi Baritone
Germont (La Traviata)
Di Luna (Il Trovatore)
Rigoletto (Rigoletto)
Buffo Bass
Don Pasquale (Don
Pasquale)
Don Alfonso (Così fan tutte)
Scarpia (Tosca)
Jochanaan (Salome)
Jack Rance (Fanciulla)
Basso Cantate
Oroveso (Norma)
Timur (Turandot)
Sarastro (Magic Flute)
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Opera Production
Opera is created by the combination of myriad art forms. First and foremost are the actors who
portray characters by revealing their thoughts and emotions through the singing voice. The next very
important component is a full symphony orchestra that accompanies the singing actors and actresses, helping
them to portray the full range of emotions possible in the operatic format. The orchestra performs in an area
in front of the singers called the orchestra pit while the singers perform on the open area called the stage.
Wigs, costumes, sets and specialized lighting further enhance these performances, all of which are designed,
created, and executed by a team of highly trained artisans.
The creation of an opera begins with a dramatic scenario crafted by a playwright or dramaturg who
alone or with a librettist fashions the script or libretto that contains the words the artists will sing. Working in
tandem, the composer and librettist team up to create a cohesive musical drama in which the music and
words work together to express the emotions revealed in the story. Following the completion of their work,
the composer and librettist entrust their new work to a conductor who with a team of assistants (repetiteurs)
assumes responsibility for the musical preparation of the work. The conductor collaborates with a stage
director (responsible for the visual component) in order to bring a performance of the new piece to life on
the stage. The stage director and conductor form the creative spearhead for the new composition while
assembling a design team which will take charge of the actual physical production.
Set designers, lighting designers, costume designers, wig and makeup designers and even
choreographers must all be brought “on board” to participate in the creation of the new production. The set
designer combines the skills of both an artist and an architect using “blueprint” plans to design the actual
physical set which will reside on the stage, recreating the physical setting required by the storyline. These
blueprints are turned over to a team of carpenters who are specially trained in the art of stage carpentry.
Following the actual building of the set, painters following instructions from the set designers’ original plans
paint the set. As the set is assembled on the stage, the lighting designer works with a team of electricians to
throw light onto both the stage and the set in an atmospheric as well as practical way. Using specialized
lighting instruments, colored gels and a state of the art computer, the designer along with the stage director
create a “lighting plot” by writing “lighting cues” which are stored in the computer and used during the actual
performance of the opera.
During this production period, the costume designer in consultation with
the stage director has designed appropriate clothing for the singing actors and
actresses to wear. These designs are fashioned into patterns and crafted by a team
of highly skilled artisans called cutters, stitchers, and sewers. Each costume is
specially made for each singer using his/her individual measurements. The wig
and makeup designer, working with the costume designer, designs and creates
wigs which will complement both the costume and the singer as well as represent
historically accurate “period” fashions.
As the actual performance date approaches, rehearsals are held on the
newly crafted set, combined with costumes, lights, and orchestra in order to ensure a cohesive performance
that will be both dramatically and musically satisfying to the assembled audience.
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The Virginia Standards of Learning for Orpheus and the Underworld
English: 4.5, 5.5, 6.4-5, 7.2, 7.5, 8.4-5, 9.2, 9.4, 10.2, 10.4, 11.2, 11.3, 12.2, 12.3
History: WHII.6
Foreign language: FI.7, FI.10-12, FII.7, FII.11, FIII.3, FIII.6, FIII.10, FIV.3, FIV.10
Music: HG.6-9, HG.11, HCB.3, HCB.7-9, HCI.7-9, HCAD.7-9, HCAR.7-9, HIB.19-21, HII.18-20,
HIAD.21-22
Theater Arts: TI.8,TI.10-13, TII.7-12, TII.14, TII.17, TIII.7, TIII.11,TT.1-2, TT.7-12, TT.21, TT.25
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Opera Etiquette
Have you ever been unsure of what is and isn't appropriate for you to do at the opera or
have you ever been annoyed by someone else's behavior there? If so, read on for some tips on
proper Opera Etiquette.
Dress Up
Most people like to dress up when they go to the opera because it's part of the fun! Nowadays
you can pretty much wear whatever you want. However, an evening at the opera is usually
considered to be a glamorous occasion, especially on an opening night.
Arrive On Time
You should always make sure you get to the opera house in plenty of time to get your tickets and
be seated before it starts. Thirty minutes before start time is usually sufficient. If you're late, the
ushers may let you in after the overture, but, if there isn't an overture, you may have to wait until
intermission and miss the entire first act!
Remain Quiet During the Performance
There's nothing worse than sitting near a chatterbox or a ringing cell phone during a
performance. Please turn off anything that can make noise, refrain from opening candy wrappers,
etc. Save your comments for intermission and, by all means, do not sing along!
Applaud When Appropriate
The correct times to applaud are when the conductor takes the podium at the very beginning of
the performance, after the overture, after a big aria, at the end of each act, and when the singers
come out to take a bow. If you are unsure of when those times are, it is best to wait and follow
the lead of other audience members.
Applaud Appropriately
Clapping while sitting or standing is always acceptable, and you can yell Bravo! to show
appreciation for a male singer, Brava! to show appreciation for a female singer, and Bravi! to
show appreciation for a group of singers. Yelling out anything other than those three words, as
well as screaming or whistling, is inappropriate.
Turn off Cell Phones, and Alarms.
This includes no photos with your cell phone or text messaging. Also, no cameras or recorders
should be used in the theatre.
No gum, food, or drinks in theatre.
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