Deities and debauchery: Eurydike’s desire for a world of endless partying and fun leads her to reject the tedious Orpheus and embrace the whimsical world of gods and operettas. Operetta is the light-hearted sister of opera, poking fun at serious themes and presenting a new interpretation of classic myths like Orpheus in the Underworld. In this version of the story, Orpheus may not actually want to rescue Eurydice, who may in turn not want to be rescued.
Orpheus in the Underworld offers an alternative take on the myth, challenging upper-class taste and power structures. The operetta by Offenbach was considered controversial in Paris in 1858, with some finding it offensive and others seeing it as liberating and exciting. The performance incorporates various perspectives, referred to as ‘ordinary folk’, who have opinions on the story, the characters, and how it should end, without revealing any spoilers to please them.
Vidar Magnussen, a versatile actor, comedian, scriptwriter, and director, made his debut at the Oslo Opera House in December 2020. Known for his roles in TV series and theater productions, Magnussen has received awards for his performances and direction. His involvement in Orpheus in the Underworld adds a unique touch to the production, challenging expectations and creating a dynamic and engaging performance for audiences.
