The role of Pluto is written for a bass in Peri's "Euridice" (1600); Caccini's "Euridice" (1602); Rossi's "Orfeo" (1647); Cesti's "Il pomo d'oro" (1668); Sartoris's "Orfeo" (1672); Lully's "Alceste", a "tragédie en musique" (1674); Charpentier's chamber opera "La descente d'Orphée aux enfers" (1686); Telemann's "Orpheus" (1726); and Rameau's "Hippolyte et Aricie" (1733). Pluto was a baritone in Lully's "Proserpine" (1680), which includes a duo dramatizing the conflict between the royal underworld couple that is notable for its early use of musical characterization. Perhaps the most famous of the Orpheus operas is Offenbach's satiric "Orpheus in the Underworld" (1858), in which a tenor sings the role of "Pluton", disguised in the giddily convoluted plotting as Aristée (Aristaeus), a farmer.