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 (film) the Portland Opera in 2010. "New York Times" critic Anthony Tommasini, following a negative review by the paper's Edward Rothstein of the opera's premiere, wrote about the release of the recording, "14 years after my first hearing, I was swept away by "Orphée"." Orpheus (film) Orpheus (; also the title used in the UK) is a 1950 French film directed by Jean Cocteau and starring Jean Marais. It is the central part of Cocteau's Orphic Trilogy, which consists of "The Blood of a Poet" (1930), "Orpheus" (1950) and "Testament of Orpheus" (1960). Set in contemporary Paris, the story of the