Since 1997 the castles have been the venue of an annual arts festival celebrating the works of Jacques Offenbach.
The monument is also known for its adjoining terraced fountain and its bronze Neptunes, the scene of light shows and the accompanying music by George Gershwin and Jacques Offenbach, early in the 20th century.
He next played Agamemnon (under the name of "Mr Leslie") in La belle Hélène by Jacques Offenbach.
In Jacques Offenbach's comic opera La Belle Hélène, the Greek Kings sing about and play a Game of the Goose and argue over cheating.
By the mid-1860s, she was also cast in character roles, such as the domineering Queen Greymare in an 1866 adaptation of Offenbach's Barbe-bleue.
She spent much of the next year at Her Majesty's Theatre in a revival of Jacques Offenbach's Le voyage dans la lune (A Trip to the Moon).
This was inaugurated on 11 March 1882, under the management of Mr. Burke, with Jacques Offenbach's opera Madame Favart, in which Florence St. John took the title rôle.
He was the author of several polemical pamphlets on the problem of Catholic Liberal Education, in which he appears to have taken a great interest; one pamphlet is highly critical of Jacques Offenbach whose music, Petre claimed, was intended merely to satisfy the “cravings of sensibilities fuddled by brandy and soda water”.
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The story was adapted by Jacques Offenbach as Le docteur Ox, an opéra-bouffe in three acts and six tableaux, premiered on 26 January 1877 with a libretto by Arnold Mortier, Philippe Gille and Verne himself.
His imaginative stage costumes were designed for performances at La Scala in Milan, the Theatre Royal, Drury Lane in London, the Théâtre des Galeries Saint-Hubert in Brussels, the Metropolitan Opera in New York, as well as the Parisian stages of the Théâtre du Châtelet, Théâtre de la Renaissance, Éden-Theatre or the Folies Bergère and including most of the works of Jacques Offenbach.
In 1954, she sang Antonia in Offenbach's The Tales of Hoffmann before Queen Elizabeth II who was on her first tour of Australia.
In 1911, Norton provided additional music for a production of Orpheus in the Underworld at His Majesty's Theatre, which was based on the Offenbach opera of the same name.
They co-authored the book Thinking for Orchestra (published by G. Schirmer), and a book about the orchestration of Jacques Offenbach selections, Nuits Parisiennes (RCA, Bote & Bock) as well as Carl Maria von Weber’s opera Die Drei Pintos.
She also performed in Ireland for one season with roles in The Tales of Hoffmann (Offenbach), The Marriage of Figaro (Mozart), and La bohème (Puccini).
The music is from the Gendarmes' Duet (the "bold gendarmes") from the 1867 revision of the 1859 opera Geneviève de Brabant by Jacques Offenbach, which debuted in Paris in 1859.
His personal dream project, which has been in development since 1992, is the feature film Hoffmanns ögon ("Hoffmann's eyes"), which is based on Jacques Offenbach's opera The Tales of Hoffmann.
Fisk extended the repertory to include more operetta— Offenbach's La Périchole had already received its American premiere there, 4 January 1869— and plays, like Sardou's La Patrie, expressly translated for the theater.
Roles he sang on disc range in diversity from Uriel in Haydn's "Creation" to the painter in Alban Berg's Lulu, and from Pitichinaccio in Offenbach's The Tales of Hoffmann to Sir Harvey in Donizetti's Anna Bolena.
Wolf then served as the company's general director until the late 1990s, during which time Tacoma Opera produced several premieres, including the West Coast premiere of Offenbach's Christopher Columbus and the world premiere of Seattle composer Carol Sams' The Pied Piper of Hamelin.
In the fifth reel of the score he quotes the revolutionary anthem, "La Marseillaise" (representing the Commune), juxtaposed contrapuntally with the famous "Can-can" from Offenbach's Orpheus in the Underworld.
and the repertoire developed more in the field of operetta, La fille de Madame Angot by Charles Lecocq in 1873, Les cloches de Corneville by Robert Planquette in 1877, Madame Favart, by Jacques Offenbach in 1878, La fille du tambour-major by Offenbach in 1879, La fauvette du temple by André Messager in 1885 and La Béarnaise by Messager in 1887 being among the premieres seen at the theatre.
This was followed by his debut at the Chicago Grand Opera Company in 1913, as the four villains in Offenbach's The Tales of Hoffmann, which is considered one of his greatest histrionic achievements.
The song's techno-country dance style is built around a re-recorded sample of "The Infernal Galop" from Act II, Scene 2 from Jacques Offenbach's Orpheus in the Underworld.