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A scene from the satirical operetta 'Orpheus in the Underworld,' returning to the Mahalia Jackson Theater Sunday afternoon.

Opera companies around the world are facing a serious conundrum: In attempting to find new audiences for its centuries-old art form, the opera world appears to be leaning more bored housewife into New Orleans sports more toward a lighthearted musical theater approach. The operetta is a lively romp through heaven and hell, from the heights of Mount Olympus to the depths of Hades, where the gods and goddesses seem to have had more fun.

It succeeds best, however, when it adheres to the more traditional guidelines of what an opera should be, namely singing and orchestral accompaniment. Both are in strong voice, and the confrontational interplay between them in the opening scene is pricelessly funny.

Later, Eurydice is equally bored in Hades, until Orpheus and the gods and goddesses arrive for an inspection tour. Hershkowitz then transforms into the glamorous, skirt-raising star of the cancan chorus line, which is far and away the liveliest scene in the.

Other leading singers include Daniel T. Curran as Aristaeus and Pluto, the very un-Mephistophelean god of the underworld, and Jarrett Ott as Jupiter, the pompous, lecherous supreme god who struggles to keep his bored and rebellious cadre of lesser gods and goddesses in line. Jeanne-Michelle Charbonnet, as Public Opinion, dressed as a frumpy mock-up of a s Hollywood gossip columnist, was in top voice, with her powerful voice often rising several lines above bored housewife into New Orleans sports staff.

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Elizabeth De Trejo is exactly what the audience would expect of a Venus: Angela Mannino, in the "trouser" role of Cupid, is a sweet delight who sends love-tipped arrows into the s;orts of the audience. Kathleen Halm, in her limited role as Minerva, makes the most of her opportunities.

Alexander Sibley, as Mercury, evoked some of the loudest laughter from sexy patiala girls house when he made his entrance on roller skates. Seth Board broed Bacchus, the god of wine, has more to offer the deities than the nectar and ambrosia they have come to despise.

The Louisiana Philharmonic Orlexns, under the deft baton of Robert Lyall, kept pace with the action onstage, never overpowering either the singing or the dialogue.

The stage direction from Alison Moritz was as near to flawless as is possible with so many singers and actors to move. Edit Article Add New Article. Toggle navigation.

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