Orpheus in the Underworld malsaine" (an unhealthy odor). In the opinion of Piat, however, Offenbach's "Orphée" is, like most of his major operettas, a "bijou" (jewel) that only snobs will fail to appreciate. The piece was not immediately a hit, but critics' condemnation of it, particularly that of Jules Janin, who called it a "profanation of holy and glorious antiquity," only provided vital publicity, serving to heighten the public's curiosity to see the piece. "Scene 1: Near Thebes" A melodrama (Introduction and Melodrame) opens the work. Public Opinion explains who she is – the guardian of morality ("Qui suis-je? du Théâtre Antique"). She seeks
Orpheus Britannicus step, from C to D. Henry Hall, who had studied composition with Purcell under John Blow, wrote the dedicatory poems at the beginning of each volume, (1698 and 1702) and also wrote one for Blow's "Amphion Anglicus". The later 1706 London printing of "Orpheus Britannicus" by William Pearson utilized a new style of music printing to great success, where the notehead was in one piece with the background staff. John Blow's "Amphion Anglicus" (1700), a collection of Blow's songs, excerpts from odes, and chamber music, was published by subscription, after "Orpheus Britannicus"' success, and even shows a certain symmetry in