• CUPID- the traditional "Eros", god of love; the mischievous "boy" who, with his bow-and-arrow, promotes romances. Soprano. • VENUS- statuesque, rather conceited and sophisticated. Soprano. • DIANA- fetching "outdoor-girl" type, with a young-and-healthy attitude to romance. Soprano. • JUNO- comedy-personality; rather scatter-brained, and generally in a fluster over Jupiter's infidelities. Mezzo-soprano. • ORPHEUS- a personable but somewhat ineffectual young man, rather tiresomely proud of his musical prowess. High Baritone. • PLUTO- a smoothly-mature and debonair character. There is a hint of Mephistopheles about him, but he is gay, amusing and completely non-sinister. High Baritone. • JUPITER- character-comedian. Pseudo-dignified, he enjoys being King of Olympus and "papa" of the gods and goddesses, who know him to be a wily old rogue with an incurable fondness for the ladies. Comedian Baritone. • MARS- burly but not brainy; the hectoring warrior-hero type in manner and appearance, but in reality more the overgrown schoolboy. Baritone. • MERCURY- the traditional youthful and athletic messenger with winged heels and head-dress. Baritone. • BACCHUS - juvenile-lead type, preferably dancer; non-singing. • STYX- a rather pathetic, gentle character, whose present lowly status is made tolerable only by a wealth of memories. Baritone. • ICARUS- the handle-bar-moustache "RAF-type" of the cartoons, ante-dated in terms of Grecian Mythology. Baritone. THE ORCHESTRA In this new version of Orpheus in the Underworld, the orchestration has been carefully arranged to meet the requirements of modest or large orchestras. The minimum combination for an effective performance is: Flute; 1st B flat Clarinet; 1st and 2nd Trumpets; 1st Trombone; Percussion and Strings. Thereafter, instruments should be added in the following order: 2nd B flat Clarinet; Oboe; 2nd Trombone; Bassoon; 1st and 2nd Horns and lastly, Harp. The work is liberally cued. In the absence of the Oboe, the 1st Trumpet should play these cues muted. Oboe cues are doubled in Flute and Clarinet parts where practicable, and the Horn and Bassoon cues appear in Cello, Trombone and Trumpet parts. It is emphasized that a complete string section should be used (1st and 2nd Violins, Viola, Cello and Bass), but Clarinet parts contain many essentiál cues to be played in absence of a Viola. The string parts are bowed and fingered where necessary, and the 1st Violin has all important melody cues throughout. This vocal score carries instrumentation marks for the musical director's assistance. The violin solos in this work have been gathered together in a special book, which can be obtained upon application to the publishers, Josef Weinberger Ltd. MUSICAL NUMBERS: OVERTURE ACT I 1. OPENING ACT I (Chorus with Calliope) - "The evening shadows soon will fail" 2. A NYMPH IN LOVE (Eurydice) - "A nymph in love ever dreaming" 3. THE VIOLIN DUET (Eurydice and Orpheus) - "So, that's how you feel?" 4. A SHEPHERD AM I (Pluto, as Aristaeus, and Girls) - "Friends, a shepherd am I" 5. MORTALS BELOW, GODS UP ABOVE (Eurydice, Pluto and Chorus) - "Mortals below, gods above"
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