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Work: Orphée aux enfers (Orpheus in the Underworld)

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Fact file
ComposerOffenbach, Jacques (1819-1880)
Work typeOpera / Oratorio
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ViennaOrpheus in der Unterwelt

Offenbach: Orphée aux enfers (Orpheus in the Underworld)
Guido Mancusi; Helmut Baumann; Volksoper Wien; Mathias Fischer-Dieskau; Uta Loher; Thomas Sigwald; Jakob Semotan

LondonOrpheus in the UnderworldNew production

Offenbach: Orphée aux enfers (Orpheus in the Underworld)
Sian Edwards; Emma Rice; English National Opera; Valentina Peleggi; Lizzie Clachan; Lez Brotherston; Ed Lyon

MannheimOrpheus in der Unterwelt

Offenbach: Orphée aux enfers (Orpheus in the Underworld)
Benjamin Reiners; Markus Bothe; Nationaltheater Mannheim; Robert Schweer; Justina Klimczyk; Joshua Whitener; Amelia Scicolone
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Au fait with Orphée: Salzburg celebrates Offenbach's bicentenary

Martin Winkler (Jupiter) and Kathryn Lewek (Eurydice) © Salzburg Festival | Monika Rittershaus
The Salzburg Festival's production of Offenbach's Orpheus in the Underworld is another classic in the making from Barrie Kosky.
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Oper Köln's delightful Orpheus enraptures all ages

Maria Isabel Segarra (Eurydice) and Matthias Hoffmann (Aristeus/Pluto) © Matthias Jung
Oper Köln’s Orpheus in the Underworld proved age accessibility must not sacrifice humour and musical integrity. The tight ensemble piece was superbly acted and well-sung throughout.
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Orpheus in the political underworld in Prague

Josef Moravec (Orphée) and Jana Sibera (Eurydice) © Hana Smejkalová
Prague's National Theater wraps its season with a wickedly funny revival of Offenbach's audacious operetta.
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Riotous journey to the Underworld

Hannah Poulsom (Juno), Alexander Aldren (Mercury) and Dominic Bowe (Jupiter) © Robert Workman
“Folies Bergère does Greek gods” is how director Martin Duncan describes Offenbach's Orphée aux enfers, and his production for Royal Academy Opera is enormous fun. 
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Opera Australia serve up a comically modern Orpheus in the Underworld in Sydney

In his director’s note, Jonathan Biggins writes, ‘All I can hope for is that you go out of the theatre feeling a bit more cheerful than when you came in’. If that was the opera’s aim, then few could claim that it was not successful in achieving it.
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