Orphée aux enfers, operetta: Allegro con fuoco - Allegretto - Lento - Allegro vivace - Allegretto - Più mosso - Andante - Allegr
La belle Hélène, operetta in 3 acts: Allegro - Allegro non troppo - Più mosso - Plus lent - Moderato - Allegro - Lento - Tempo I - Alleg
Le voyage dans la lune, fairy opera in 4 acts: Overture: Allegro maestoso - Andante - Animé - Animé - Vivo - Presto
Le voyage dans la lune, fairy opera in 4 acts: Ballet des flocons de neige
La fille du tambour-major, comic opera in 3 acts: Allegro - Allegretto très modéré - Mouvement de Valse - Andante - Allegro - Maestoso - Vivace - Pre
Les contes d'Hoffmann, opera in 4 acts: Maestoso - Allegro moderato - Tempo di Minuetto -
Les contes d'Hoffmann, opera in 4 acts: Allegro moderato - Moderato
Barbe-bleue, operetta in 3 acts: Allegro - Moderato - Allegro
Le mariage aux lanternes, operetta in 1 act (revision of "Le trésor à Mathurin"): Moderato marziale - Allegretto - L'istesso tempo - Andantino - Allegretto - L'istesso tempo - Moder
La Grande-Duchesse de Gérolstein, operetta in 3 acts: Allegro maestoso - Allegro - Allegretto - Un poco più vivo - Andantino - - Tempo I - Allegro -
Vert-Vert, comic opera in 3 acts: Moderato - Allegro - Allegretto - Animée - Moderato - Allegretto - Allegro - Moderato - Pressez le
La vie parisienne, operetta in 5 acts, revised to 4 acts: Allegro molto - Moderato (Tempo di Valse) - Presto - Più presto
Several of the overtures to the operettas of Jacques Offenbach were the work of other hands, composed to replace the brief introductory music that had been used in early productions at the small Parisian theaters. Thus, the overtures to Orphée aux enfers (1858), La Belle Hélène (1864), and La Grande-Duchesse de Gérolstein (1867) were arranged to meet demand when the productions moved to larger venues. Offenbach probably didn't start writing his own full-length overtures until 1870, when they had become especially popular ...
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Several of the overtures to the operettas of Jacques Offenbach were the work of other hands, composed to replace the brief introductory music that had been used in early productions at the small Parisian theaters. Thus, the overtures to Orphée aux enfers (1858), La Belle Hélène (1864), and La Grande-Duchesse de Gérolstein (1867) were arranged to meet demand when the productions moved to larger venues. Offenbach probably didn't start writing his own full-length overtures until 1870, when they had become especially popular with Parisian and Viennese audiences. In the case of La Vie parisienne (1866), there were a few competing overtures in circulation over the years, though the colorful one heard on this 2015 Chandos recording is an arrangement that Antal Doráti made in 1948. The rest of the program offers Offenbach originals, or what are presumed to be, and the performances by Neeme Järvi and the Orchestre de la Suisse Romande have the zest and humor that are hallmarks of Offenbach's style. There have...
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