Orpheus in the uderworld

"Nečuveno", "sjajno", "ljupko", "Šarmantno", "duhovito", "zabavno", "uspješno", "savršeno", "melodiozno", ...

	Jupiter Bojan Šober Euridika Adela Golac Rilović Aristej/Pluton Sveto Matošić Komnenović Orfej Ante Ivić Javno Mnijenje Maria Boga-Verdes Venera Sanja Erceg Vrekalo Merkur Vinko Maroević Junona Arijana Čulina John Styx Čedo Martinić Diana Snježana Katić Kupidon Renata Pokupić Minerva Marija Bubić Mars Ivica Ložić Morfej Edo Marić Heba Marija Adam Cybela Ivana Tonković ZBOR, BALET I ORKESTAR HNK SPLIT
Offenbach was an amazingly quick and profilic composer. He easily found attractive melodies which he would transfer into the rhythms of the popular dances of the time and into the frames of Parisian musical folclore with the skill of a genius. Offenbach dramatic parodies or operetta satires dissect with surgical precision all the layers of the society, not stopping at its top.
	The best example of this active creative relationship in this milieu is Orpheus in the Underworld, one of his famous operettas, in which the object of the satire is the very top of the authorities. Actually, Orpheus… lit up the background where scenes of dictatorship were taking place. It is easy to notice the modern analogies with Jupiter, the father of gods, who lurks for any pretty face, with Juno,
his wife, who is eaten up by jelousy, with the double cheering of gods who follow the example of their master. The process for maintaining the power machinery is revealed in an equally sharp way. In short, Offenbach made fun of the idle courtlife, he revealed Potemkin's villages and cast off the coats which gave the illusion of greatness.

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