Orphée aux Enfers, Offenbach's riotous parody of the dissipations of French life in the Second Empire, fairly gallops past in this 1997 Herbert Wernicke production staged at the Theatre de la Monnaie in Brussels. Based on Offenbach's meatier second version (1874) of the Orpheus legend, it features nicely judged performances across the board and some stunning special effects, notably the explosive locomotive crash signalling the breach of the divide between Heaven and Hell. Satire reigns, not least in the reactionary figure of Public Opinion, a pinny-clad bossy boots with a hint of Dame Edna Everage about her. Olympus is a moribund salon full of bored Gods, sick of the Ambrosian diet.

Here is an irreverent take on the tragic story of the lovers Orpheus and Eurydice. With his librettists Hector Crémieux and Ludovic Halévy, Jacques Offenbach creates a wonderful array of characters from the heavens who find themselves caught up in domestic antics. In this enchanting production from the Festival d’Aix-en-Provence from 2009 with a young cast from the European Academy of Music, director Yves Beaunesne transposes the action to the 1940s and spreads it over the four floors of a bourgeois residence. From the kitchen (Orpheus' home) to the attic (the Underworld), via the dining room (Olympus) and the bedroom (Pluto's boudoir), he succeeds in teasing out all the humour and elegance of Offenbach’s satirical masterpiece.

Offenbach’s mockery of bourgeois ideals, the sublimity of music and the institution of marriage ensures that the moralistic sermonizing of ‘Public Opinion’ falls on deaf ears. The mysterious figure of John Styx tells the story of behind-the-times Orpheus and his hacked-off Eurydice, of gods and goddesses seeking diversion, jaded with humdrum life in Olympus. He tells of the rebellion in the pantheon, which Jupiter adeptly averts by promising an amusement for his entourage. Burning with curiosity to see the beauteous captive and the contest between Jupiter and Pluto for Eurydice’s favour, the illustrious company embarks on an infernal ride to the underworld that culminates in what is surely the most wellknown can-can in the history of music. And what of Eurydice? She ends up putting a spoke in everyone’s wheel…

Except for Amine and Kimmy, the young couple of neighbors she meets regularly, visitors are rare in Constance Brunel's antique store. Loneliness is also her life. One night, Amine, in a panic, seeks help at her house: Kimmy has fallen badly when she slipped and she has killed herself. Thinking that the police will not believe this version because of his judicial past, Amine borrows Constance's car to take the corpse and make it disappear. In the days that follow, this shared secret brings Constance and Amine closer. But one morning, an anonymous letter accompanied by photos demands a ransom: someone in the building has seen everything, the blackmail begins.

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Film recording of Robert Wilson’s stage production of the opera by Gluck. John Eliot Gardiner conducts Berlioz’s 1859 revision of Gluck’s opera “Orphée et Eurydice” at the Théâtre du Châtelet in Paris. Soloists Magdalena Kožená, Madeline Bender and Patricia Petibon are accompanied by Gardiner’s regular chorus, The Monteverdi Choir, and the 19th-century period instruments of the Orchestre Révolutionnaire et Romantique.

Juan Diego Flórez dazzled audiences and critics alike when he played the virtuoso role of Orphée in La Scala’s first ever staging of Gluck’s opera in its French version: “Juan Diego Flórez delivered a lesson in style. His tone is darker and his projection more self-effacing than in the past, but class is permanent. His agility and legato are utterly thrilling. The ovations were never-ending.” (Corriere della sera) The present release is a production by Royal Opera House, Covent Garden, London Recorded live at Teatro alla Scala, Milan, March 2018. Gluck’s Orpheo ed Euridice was first performed in 1762. It is the first of Gluck’s “reform” operas, in which he attempted to replace the abstruse plots and overly complex music of opera sera with a “noble simplicity” in both the music and the drama. The present production was staged by Hofesh Shechter and John Fulljames.

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In the aftermath of a shooting in Naples, Matteo sees all reason to exist crumble. His little boy is dead. His wife, Giuliana, has disappeared. He himself sinks into loneliness and, night after night, in his empty cab, roams the city streets for no reason. But one evening, he lets a strange customer into the car, who offers him a drink in a tiny café as payment for his fare. There, Matteo meets the owner, Garibaldo, the unrepentant priest Don Mazerotti, and above all Professor Provolone, a colorful character, as erudite as he is sulphurous, who makes strange speeches about the reality of the Underworld. And he claims that you can go down there...

Paul, a former insurer, is struggling to make ends meet. He agrees to meet Sarrebry, a loan shark introduced to him by his friend Daubelle. Paul mortally knocks out the disgusting crook and steals a large sum of money from him.