The 19th century’s most popular musical-theatre composer: Jacques Offenbach
The son of a German bookbinder, music-teacher and cantor called Eberst, but known as Offenbach, the young Jacob was given
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ORPHÉE AUX ENFERS Opéra-bouffon in 2 acts
Orphée aux enfers was Offenbach’s first venture into mounting a full-scale opéra-bouffe at his blossoming little Théâtre des Bouffes-Parisiens, where
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“Der Krimi geht weiter. Noch immer lässt die Offenbach-Philologie viele Fragen offen”
Gehört Offenbach nicht allen? Auch Jean-Christophe Kecks Offenbach-Edition lässt Fragen offen. Ein Versuch, einige zu klären. Die Offenbach-Philologie ist eine
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LA BELLE HÉLÈNE Opéra-bouffe in 3 acts
The fourth of Offenbach’s great opéras-bouffes burlesqueing ancient historical legend or mythology (after Orphée aux enfers, Geneviève de Brabant and
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Francis Lopez (b Montbéliard, 15 June 1916, d Paris, 5 January 1995)
The brightest musical star of the postwar years in France, whose output frittered away into embarrassing imitations of himself after
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Offenbach, the Opéra-Comique and “Vert-Vert”
In 1867, the year of the extravagant Paris Exposition Universelle , Offenbach’s success reached its apogee. His new opera bouffes,
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LA FILLE DE MADAME ANGOT Opéra-comique in 3 acts
Along with Planquette’s Les Cloches de Corneville, La Fille de Madame Angot (Théâtre des Fantaisies-Parisiennes, Brussels, 4 December 1872) was
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Charles Lecoq (b Paris, 3 June 1832; d Paris, 24 October 1918)
The most potent musician in the development of the French opérette tradition in the 1870s, and for a decade the
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LE PETIT FAUST Opéra-bouffe in 3 acts
Of Hervé’s three most successful full-scale opéras-bouffes, it was Le Petit Faust, the only one of the three to parody
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CHILPÉRIC: Opéra-bouffe in 3 acts and 4 tableaux
One of the most successful of extravagantly humorous full-length opéras-bouffes written and composed by the playwright/composer Hervé, Chilpéric went even
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