Orpheus in the Underworld / Orpheus põrgus – Rahvusooper Estonia

A Joyride Through the Underworld

Orpheus in the Underworld—despite its name—is not a solemn myth retelling, but a riotous romp through gods, mortals, and music. Rahvusooper Estonia’s dazzling production lives up to Offenbach’s original spirit of irreverence, wit, and pure entertainment. Staged in Estonian with subtitles in both Estonian and English, this performance embraces the opera’s comedic chaos and turns it into a vibrant, feel-good spectacle.

Orpheus põrgus – Rahvusooper Estonia

Offenbach’s Satirical Masterpiece

Premiered in 1858 in Paris, Orphée aux enfers was a game-changer. Jacques Offenbach’s parody of the Orpheus myth mocked classical opera conventions and poked fun at contemporary society—including politics, marriage, and the gods themselves. Critics were scandalized, but audiences were thrilled. The piece is often credited with launching the genre of operetta.

Notably, the opera introduced one of the most iconic musical themes in Western culture: the Galop infernal—instantly recognizable today as the "can-can" dance.

Composer Hector Berlioz once praised Offenbach for his "sparkling originality and inexhaustible wit." Richard Strauss admired Offenbach’s instinct for comedy and theatrical timing. The impact of Orpheus in the Underworld endures not because it follows the rules, but because it tears them up with a grin.

The Estonian Take: Bold, Flashy, and Fun

Rahvusooper Estonia delivers an exhilarating version of Orpheus põrgus that doesn’t hold back. The set design by Jaagup Roomet is massive and bold—oversized props, striking lighting effects by René Liivamägi, and vibrant, borderline flamboyant aesthetics pull you into a world where excess is the norm. The visual experience alone is a feast.

Musically, under the baton Arvo Volmer, the production is tight and thrilling. The acoustics of the Estonian National Opera House’s dome do wonders, sending sound soaring through the hall. From my spot on the second balcony, the music was rich, crisp, and loud in the best way possible. The orchestra handled Offenbach’s frenetic score with finesse, turning each number into a burst of joy.

The performers were the heart of the production. With the opera performed in Estonian and featuring extended spoken dialogue, comedic timing was essential—and they nailed it. The jokes landed smoothly, the puns were sharp, and the energy never dipped.

Heldur Harry Põlda was a hilariously unheroic Orpheus—not a legendary poet, but a disinterested violin teacher reluctantly dragged into heroism by public pressure.

Kristel Pärtna shone as Eurydike, a witty, flirty presence who was anything but a damsel in distress. Her comedic timing was spot-on, and her vocals sparkled.

Rauno Elp as Jupiter stole scene after scene. With a lightning bolt painted on his face and glam-rock swagger (think David Bowie meets Zeus), he was magnetic and hilarious.

Mati Turi played Pluto/Aristée, Eurydike’s secret lover and the real mastermind of her death, with just the right mix of sleaze and charm. His interactions with Jupiter created some of the most amusing moments in the show.

Juuli Lill brought gravitas and deadpan wit to the role of Public Opinion, the opera’s moral compass and comedic foil.

Kadri Nirgi portrayed Cupid as a wonderfully detached, too-cool-to-care teen, floating between scenes with disaffected flair.

Helen Lokuta (Venus), Kadri Kõrvek (Diana), Aule Urb (Juno), and René Soom (Mercury) rounded out the pantheon with vivid and funny portrayals.

Erki Lillemets (Mars) was physically imposing and humorously silent.

Priit Kruusement gave Bacchus the perfect mix of smugness and swagger.

Mart Madiste as John Styx was a scene-stealer in his own right—awkward, earnest, and delightfully offbeat with his goth makeup.

The ballerinas were another highlight. Choreographed by Dmitri Harchenko, their appearances were perfectly timed interludes of fluid motion and comic flair. Their dancing wasn’t just technically impressive; it added to the playful mood and visual rhythm of the show.

Final Thoughts

Orpheus in the Underworld isn’t supposed to be deep, and that’s exactly the point. It’s a satire, a party, a wink to the audience—and Rahvusooper Estonia gets that. In fact, they might even outdo Offenbach in sheer energy and punchline-per-minute delivery.

This production lifts your spirits. It’s a show that resets your mood and sends you out into the night smiling. Whether you're an opera regular or a newcomer, Orpheus põrgus is a riot worth witnessing.

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