Works
In The Musical Times, Mark Lubbock wrote in 1957:
Offenbach's music is as individually characteristic as that of Delius, Grieg or Puccini – together with range and variety. He could write straightforward "singing" numbers like Paris's song in La Belle Hélène, "Au mont Ida trois déesses"; comic songs like General Boum's "Piff Paff Pouf" and the ridiculous ensemble at the servants' ball in La Vie Parisienne, "Votre habit a craqué dans le dos". He was a specialist at writing music that had a rapturous, hysterical quality. The famous can-can from Orphée aux Enfers has it, and so has the finale of the servants' party … which ends with the delirious song "Tout tourne, tout danse'". Then, as a contrast, he could compose songs of a simplicity, grace and beauty like the Letter Song from La Périchole, "Chanson de Fortunio", and the Grand Duchess's tender love song to Fritz: "Dites-lui qu'on l'a remarqué distingué".Among other well-known Offenbach numbers are the Doll Song, "Les oiseaux dans la charmille" (The Tales of Hoffmann); "Voici le sabre de mon père" and "Ah! Que j'aime les militaires" (La Grande Duchesse de Gerolstein); and "Tu n'es pas beau" in La Périchole, which Lamb notes was Offenbach's last major song for Hortense Schneider.
Read more about this topic: Jacques Offenbach
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“The mind, in short, works on the data it receives very much as a sculptor works on his block of stone. In a sense the statue stood there from eternity. But there were a thousand different ones beside it, and the sculptor alone is to thank for having extricated this one from the rest.”
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