Barbe-bleue (French pronunciation: [baʁb blø], Bluebeard) is an opéra bouffe, or operetta, in three acts (four scenes) by Jacques Offenbach to a French libretto by Henri Meilhac and Ludovic Halévy based on Charles Perrault's 1697 story.

Belle Lurette is a three-act opéra comique with music by Jacques Offenbach and words by Ernest Blum, Edouard Blau and Raoul Toché. It was first performed at the Théâtre de la Renaissance, Paris, on 30 October 1880. The composer died before the orchestration of the score was finished, and Léo Delibes completed it. The opera depicts the romantic affairs of a beautiful Parisian laundress, known as "Belle Lurette", and the entanglements of those around her.

Christopher Columbus (1451–1506) was an Italian explorer and navigator from the Republic of Genoa. Christopher Columbus or Chris Columbus may also refer to:

Jacques Offenbach (; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Franz von Suppé, Johann Strauss II and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffmann remains part of the standard opera repertory. Born in Cologne, Kingdom of Prussia, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire; he found academic study unfulfilling and left after a year, but remained in Paris. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There, during the next three years, he presented a series of more than two dozen of his own small-scale pieces, many of which became popular. In 1858 Offenbach produced his first full-length operetta, Orphée aux enfers ("Orpheus in the Underworld"), with its celebrated can-can; the work was exceptionally well received and has remained his most played. During the 1860s, he produced at least eighteen full-length operettas, as well as more one-act pieces. His works from this period include La belle Hélène (1864), La Vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867) and La Périchole (1868). The risqué humour (often about sexual intrigue) and mostly gentle satiric barbs in these pieces, together with Offenbach's facility for melody, made them internationally known, and translated versions were successful in Vienna, London, elsewhere in Europe and in the US. Offenbach became associated with the Second French Empire of Napoleon III: the emperor and his court were genially satirised in many of Offenbach's operettas, and Napoleon personally granted him French citizenship and the Légion d'honneur. With the outbreak of the Franco-Prussian War in 1870, and the fall of the empire, Offenbach found himself out of favour in Paris because of his imperial connections and his German birth. He remained successful in Vienna, London and New York. He re-established himself in Paris during the 1870s, with revivals of some of his earlier favourites and a series of new works, and undertook a popular US tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, which has entered the standard repertory in versions completed or edited by other musicians.

This is a complete list of the 98 operettas of Jacques Offenbach (1819–1880).

Die Rheinnixen (French: Les fées du Rhin; English The Rhine Nixies) is a romantic opera in four acts by Jacques Offenbach. The original libretto by Charles-Louis-Étienne Nuitter was translated into German by Alfred von Wolzogen. The Elves' Song from Die Rheinnixen was later used in The Tales of Hoffmann, where it became the "Barcarolle" (Belle nuit, ô nuit d'amour) in the 'Giulietta' act; Conrad's drinking song was also re-used in the same act.

Fantasio is an 1872 opéra comique in 3 acts, 4 tableaux, with music by Jacques Offenbach. The French libretto by Paul de Musset was closely based on the 1834 play of the same name by his brother Alfred de Musset. The opera found little success in Offenbach's lifetime, was occasionally revived until the preparation of a critical edition in the 2000s.

Geneviève de Brabant (French pronunciation: [ʒənvjɛv də bʁabɑ̃]) is an opéra bouffe, or operetta, by Jacques Offenbach, first performed in Paris in 1859. The plot is based on the medieval legend of Genevieve of Brabant. For the 1867 version two additional characters, men-at-arms, were added to Act 2 and given a comic duet, in English-speaking countries widely known as the "Gendarmes' Duet" or the "bold gendarmes", from H. B. Farnie's English adaptation. As well as being a popular performance piece, it formed the basis for the U.S. "Marines' Hymn".

Il signor Fagotto is a one-act opérette by Jacques Offenbach to a French libretto by Charles-Louis-Étienne Nuitter and Étienne Tréfeu, first performed in 1863. The story of a father outwitted and true love winning is set within "a burlesque of musical styles".

Jacques Offenbach (; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Franz von Suppé, Johann Strauss II and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffmann remains part of the standard opera repertory. Born in Cologne, Kingdom of Prussia, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire; he found academic study unfulfilling and left after a year, but remained in Paris. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There, during the next three years, he presented a series of more than two dozen of his own small-scale pieces, many of which became popular. In 1858 Offenbach produced his first full-length operetta, Orphée aux enfers ("Orpheus in the Underworld"), with its celebrated can-can; the work was exceptionally well received and has remained his most played. During the 1860s, he produced at least eighteen full-length operettas, as well as more one-act pieces. His works from this period include La belle Hélène (1864), La Vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867) and La Périchole (1868). The risqué humour (often about sexual intrigue) and mostly gentle satiric barbs in these pieces, together with Offenbach's facility for melody, made them internationally known, and translated versions were successful in Vienna, London, elsewhere in Europe and in the US. Offenbach became associated with the Second French Empire of Napoleon III: the emperor and his court were genially satirised in many of Offenbach's operettas, and Napoleon personally granted him French citizenship and the Légion d'honneur. With the outbreak of the Franco-Prussian War in 1870, and the fall of the empire, Offenbach found himself out of favour in Paris because of his imperial connections and his German birth. He remained successful in Vienna, London and New York. He re-established himself in Paris during the 1870s, with revivals of some of his earlier favourites and a series of new works, and undertook a popular US tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, which has entered the standard repertory in versions completed or edited by other musicians.

L'île de Tulipatan (The Island of Tulipatan) is an opéra bouffe (a form of operetta), in one act by Jacques Offenbach to an original French libretto by Henri Chivot and Alfred Duru. It was first performed at the Théâtre des Bouffes Parisiens, Paris, on 30 September 1868. It was revived by the Compagnie Les Brigands at the Théâtre de l'Athénée as part of a double-bill with Croquefer in December 2012.

La belle Hélène (French pronunciation: [la bɛl elɛn], The Beautiful Helen) is an opéra bouffe in three acts, with music by Jacques Offenbach and words by Henri Meilhac and Ludovic Halévy. The piece parodies the story of Helen of Troy's elopement with Paris, which set off the Trojan War. The premiere was at the Théâtre des Variétés in Paris, on 17 December 1864. The work ran well, and productions followed in three continents. La belle Hélene continued to be revived throughout the 20th century and has remained a repertoire piece in the 21st.

This is a complete list of the 98 operettas of Jacques Offenbach (1819–1880).

La chanson de Fortunio (The Song of Fortunio) is a short opéra-comique in one act by Jacques Offenbach with a French libretto by Ludovic Halévy and Hector Crémieux. The music was composed within a week, with a further week being spent in preparations for the production. Its success was welcome after the failure of Barkouf a fortnight earlier. Taken as a whole, this operetta has never formed part of what may be termed the standard repertoire, but despite this, and especially during the period prior to the First World War, the title song remained extremely popular as a recital item, and indeed the writer of Offenbach's obituary in The Times considered the song itself to be one of his best compositions along with Orpheus in the Underworld and La Grande-Duchesse de Gérolstein – with La belle Hélène following behind these "at some distance". Offenbach had composed music for the song of Fortunio in act 2, scene 3, of Le Chandelier by Alfred de Musset for a revival of the play in 1850 at the Comédie-Française and this was published (by Heugel) as part of Offenbach's collection of songs Les Voix mystérieuses in 1853, and taken up enthusiastically by the tenor Gustave-Hippolyte Roger in his concerts. The librettists based their one-act La chanson de Fortunio around this song – with the story as a sort of sequel to the original play, the melody of the song being heard in the overture. Messager composed an opera Fortunio (1907) based on the Musset play; Fortunio's song from that work was also set in Russian by Tchaikovsky as the first of his six Romances, Op. 28.

La créole is an opéra comique in three acts of 1875 with music by Jacques Offenbach. The French libretto was by Albert Millaud, with additional material by Henri Meilhac. It was one of three full-length stage works written almost simultaneously that year, the others being La Boulangère a des écus and Le Voyage dans la lune.

This is a complete list of the 98 operettas of Jacques Offenbach (1819–1880).

La fille du tambour-major (French pronunciation: [la fij dy tɑ̃buʁ maʒɔʁ], The Drum Major's Daughter) is an opéra comique in three acts, with music by Jacques Offenbach and words by Alfred Duru and Henri Chivot. It was one of the composer's last works, premiered less than a year before his death. It opened at the Théâtre des Folies-Dramatiques, Paris, on 13 December 1879, and, after a successful initial run, was frequently revived in Paris and internationally, but in recent times has not been among the Offenbach operas most frequently staged. The plot, which has elements in common with Gaetano Donizetti's 1840 comic opera La fille du régiment, depicts a young woman discovering her real identity, renouncing her aristocratic upbringing, and marrying a dashing soldier.

La Grande-Duchesse de Gérolstein (The Grand Duchess of Gerolstein) is an opéra bouffe (a form of operetta), in three acts and four tableaux by Jacques Offenbach to an original French libretto by Henri Meilhac and Ludovic Halévy. The story is a satirical critique of unthinking militarism and concerns a spoiled and tyrannical young Grand Duchess who learns that she cannot always get her way. The opera premiered in Paris in 1867 and starred Hortense Schneider in the title role. Thereafter, it was heard in New York, London and elsewhere, and it is still performed and recorded.

La jolie parfumeuse (French pronunciation: [la ʒɔli paʁfymøz]) is an opéra comique in three acts of 1873 with music by Jacques Offenbach. The French libretto was by Hector Crémieux and Ernest Blum.

La Périchole (French pronunciation: [la peʁikɔl]) is an opéra bouffe in three acts with music by Jacques Offenbach and words by Henri Meilhac and Ludovic Halévy. The opera depicts the mutual love of two impoverished Peruvian street singers – too poor to afford a marriage licence – and a lecherous viceroy, Don Andrès de Ribeira, who wishes to make La Périchole his mistress. Love eventually triumphs. The story is based loosely on the play Le carrosse du Saint-Sacrement by Prosper Mérimée (1828), and the title character is based on the Peruvian entertainer Micaela Villegas. La Perichole was first seen in a two-act version on 6 October 1868 at the Théâtre des Variétés, Paris, with Hortense Schneider in the title role, José Dupuis as Piquillo and Pierre-Eugène Grenier as the Viceroy. A revised three-act version premiered at the same theatre on 25 April 1874, with the same three stars. The work is considered more sentimental than the earlier Offenbach satires, and the score is infused with Spanish and other dance styles. It was staged throughout Europe and the Americas, and is frequently revived, particularly in France. It has also been broadcast on radio and television and recorded many times.

La permission de dix heures is an opéra comique in one act, composed in 1867 by Jacques Offenbach. The French libretto, by Mélesville and Pierre Carmouche, was arranged by Nuitter with the agreement of Carmouche from the comédie-vaudeville by the same authors, first performed at the Théâtre du Palais-Royal on 17 April 1841. Offenbach's opéra comique premiered in Bad Ems, Germany, and had a Paris production but did not enter the repertoire.

This is a list of musical compositions by Jacques Offenbach (1819–1880). Offenbach is principally known for his operettas, of which he composed 98 between 1847 and 1880. He also wrote two opéras, Die Rheinnixen and his unfinished masterpiece Les contes d'Hoffmann. In his early career he was an internationally celebrated cello virtuoso, and he also wrote a series of vocal and instrumental pieces.

This is a complete list of the 98 operettas of Jacques Offenbach (1819–1880).

Le château à Toto (Toto’s castle) is an opéra bouffe in three acts of 1868 with music by Jacques Offenbach. The French libretto was by Henri Meilhac and Ludovic Halévy. It is situated in an important sequence of fifteen opera works and revivals by Offenbach between 1867 and 1869.

Le docteur Ox is an opéra bouffe in three acts and six tableaux of 1877 with music by Jacques Offenbach. The French libretto was by Arnold Mortier and Philippe Gille, adapted from the 1872 short story Une fantaisie du docteur Ox by Jules Verne.

Jacques Offenbach (; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Franz von Suppé, Johann Strauss II and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffmann remains part of the standard opera repertory. Born in Cologne, Kingdom of Prussia, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire; he found academic study unfulfilling and left after a year, but remained in Paris. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There, during the next three years, he presented a series of more than two dozen of his own small-scale pieces, many of which became popular. In 1858 Offenbach produced his first full-length operetta, Orphée aux enfers ("Orpheus in the Underworld"), with its celebrated can-can; the work was exceptionally well received and has remained his most played. During the 1860s, he produced at least eighteen full-length operettas, as well as more one-act pieces. His works from this period include La belle Hélène (1864), La Vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867) and La Périchole (1868). The risqué humour (often about sexual intrigue) and mostly gentle satiric barbs in these pieces, together with Offenbach's facility for melody, made them internationally known, and translated versions were successful in Vienna, London, elsewhere in Europe and in the US. Offenbach became associated with the Second French Empire of Napoleon III: the emperor and his court were genially satirised in many of Offenbach's operettas, and Napoleon personally granted him French citizenship and the Légion d'honneur. With the outbreak of the Franco-Prussian War in 1870, and the fall of the empire, Offenbach found himself out of favour in Paris because of his imperial connections and his German birth. He remained successful in Vienna, London and New York. He re-established himself in Paris during the 1870s, with revivals of some of his earlier favourites and a series of new works, and undertook a popular US tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, which has entered the standard repertory in versions completed or edited by other musicians.

Le mariage aux lanternes (The Wedding by Lantern-Light) is an opérette in one act by Jacques Offenbach. The French libretto was written by Michel Carré and Léon Battu. It was first performed at the Salle Choiseul, Théâtre des Bouffes-Parisiens, Paris, on 10 October 1857. The operetta was a reworking of Le trésor à Mathurin, with words by Battu (1829–1857), which had a well-received single performance at the Salle Herz, Paris, on 7 May 1853 but was subsequently lost. After the Paris premiere, Le mariage aux lanternes was produced in Berlin and Vienna in 1858, Prague, Graz and Budapest in 1859, London, New York, Brussels, Stockholm in 1860, Moscow in 1871 and Milan in 1875. Later it was revived at the Opéra-Comique in 1919, Stockholm in 1927 and Berlin in 1930. The work is in Offenbach's more pastoral and sentimental style rather than the 'bouffonerie' of some of his contemporary stage works.

Le papillon (The Butterfly) is a 'fantastic ballet' in two acts (four scenes) of 1860, with choreography by Marie Taglioni and music by Jacques Offenbach to a libretto by Jules-Henri Vernoy de Saint-Georges.

Le pont des soupirs ("The Bridge of Sighs") is an opéra bouffe (or operetta) set in Venice, by Jacques Offenbach, first performed in Paris in 1861. The French libretto was written by Hector Crémieux and Ludovic Halévy. Plays, including melodramas, set in Venice were quite common in Paris in the early 19th century; the libretto, by the successful team from Orphée aux enfers, also nods towards the operas La reine de Chypre (1841) and Haydée (1847). Gänzl describes the piece as being in Offenbach's "best bouffe manner", noting a "long list of sparkling and funny musical pieces": the multiple serenade beneath Catarina's balcony, the tale of the loss of the Venetian fleet, the parody of an operatic mad scene for Catarina, and a farcical "quatuor des poignards". Offenbach would return to Venice in the Giulietta act of his final work Les Contes d'Hoffmann.

Le roi Carotte (French pronunciation: [lə ʁwa kaʁɔt], King Carrot) is a 4-act opéra-bouffe-féerie with music by Jacques Offenbach and libretto by Victorien Sardou, after E. T. A. Hoffmann. The libretto, written before the French defeat in the Franco-Prussian War, lampooned Bonapartists, monarchists and republicans. Staging the piece required elaborate costumes and grand spectacle, including a wide range of locations and numerous scene changes.

A Trip to the Moon (French: Le Voyage dans la Lune [lə vwajaʒ dɑ̃ la lyn], transl. "The Journey to the Moon") is a 1902 French science-fiction adventure trick film written, directed and produced by Georges Méliès. Inspired by the Jules Verne novel From the Earth to the Moon (1865) and its sequel Around the Moon (1870), the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon's surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. Méliès leads an ensemble cast of French theatrical performers as the main character Professor Barbenfouillis. Although the film disappeared into obscurity after Méliès's retirement from the film industry, it was rediscovered around 1930, when Méliès's importance to the history of cinema was beginning to be recognised by film devotees. An original hand-colored print was discovered in 1993, and restored in 2011. A Trip to the Moon was ranked 84th among the 100 greatest films of the 20th century by The Village Voice. The film remains Méliès' best-known, and the moment when the capsule lands (in the moon's eye) remains one of the most iconic, and frequently referenced, images in the history of cinema.

This is a complete list of the 98 operettas of Jacques Offenbach (1819–1880).

Les bergers is a three-act opéra comique of 1865 with music by Jacques Offenbach. The French libretto was by Hector Crémieux and Philippe Gille. It belongs to the group of more serious works, such as Barkouf, Robinson Crusoé, Vert-Vert and above all Fantasio which became neglected as his contemporaries pigeon-holed Offenbach as simply an amusing composer of opéra bouffe.

This is a complete list of the 98 operettas of Jacques Offenbach (1819–1880).

Les brigands (French pronunciation: [le bʁiɡɑ̃], The Bandits) is an opéra bouffe, or operetta, by Jacques Offenbach to a French libretto by Henri Meilhac and Ludovic Halévy. Meilhac and Halévy's libretto lampoons both serious drama (Schiller's play The Robbers) and opéra comique (Fra Diavolo and Les diamants de la couronne by Auber). The plot is cheerfully amoral in its presentation of theft as a basic principle of society rather than as an aberration. As Falsacappa, the brigand chieftain, notes: "Everybody steals according to their position in society." The piece premiered in Paris in 1869 and has received periodic revivals in France and elsewhere, both in French and in translation. Les brigands has a more substantial plot than many Offenbach operettas and integrates the songs more completely into the story. The forces of law and order are represented by the bumbling carabinieri, whose exaggerated attire delighted the Parisian audience during the premiere. In addition to policemen, financiers receive satiric treatment. The satire counterpoints lively musical romps and the frequent use of Italian and Spanish rhythms; "Soyez pitoyables" is a true canon, and each act finale is a well-developed whole. A 1983 New York Times article theorized that the music of the piece influenced Bizet in writing Carmen and noted that the librettists for this work supplied Bizet's libretto, but standard studies of Bizet and Offenbach do not mention any such influence.

The Tales of Hoffmann (French: Les contes d'Hoffmann) is an opéra fantastique by Jacques Offenbach. The French libretto was written by Jules Barbier, based on three short stories by E. T. A. Hoffmann, who is the protagonist of the story. It was Offenbach's final work; he died in October 1880, four months before the premiere.

This is a complete list of the 98 operettas of Jacques Offenbach (1819–1880).

Lischen et Fritzchen is a one-act operetta (« conversation alsacienne » - Alsatian conversation) with music by Jacques Offenbach to a French libretto by ‘P Dubois’ (Paul Boisselot), first performed in 1863.

Jacques Offenbach (; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Franz von Suppé, Johann Strauss II and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffmann remains part of the standard opera repertory. Born in Cologne, Kingdom of Prussia, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire; he found academic study unfulfilling and left after a year, but remained in Paris. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There, during the next three years, he presented a series of more than two dozen of his own small-scale pieces, many of which became popular. In 1858 Offenbach produced his first full-length operetta, Orphée aux enfers ("Orpheus in the Underworld"), with its celebrated can-can; the work was exceptionally well received and has remained his most played. During the 1860s, he produced at least eighteen full-length operettas, as well as more one-act pieces. His works from this period include La belle Hélène (1864), La Vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867) and La Périchole (1868). The risqué humour (often about sexual intrigue) and mostly gentle satiric barbs in these pieces, together with Offenbach's facility for melody, made them internationally known, and translated versions were successful in Vienna, London, elsewhere in Europe and in the US. Offenbach became associated with the Second French Empire of Napoleon III: the emperor and his court were genially satirised in many of Offenbach's operettas, and Napoleon personally granted him French citizenship and the Légion d'honneur. With the outbreak of the Franco-Prussian War in 1870, and the fall of the empire, Offenbach found himself out of favour in Paris because of his imperial connections and his German birth. He remained successful in Vienna, London and New York. He re-established himself in Paris during the 1870s, with revivals of some of his earlier favourites and a series of new works, and undertook a popular US tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, which has entered the standard repertory in versions completed or edited by other musicians.

Maître Péronilla is an opéra bouffe in three acts of 1878 with music by Jacques Offenbach. The French libretto was by the composer with Charles-Louis-Étienne Nuitter and Paul Ferrier. The sub-title was La femme à deux maris; the working title during the preparation of the libretto and composition had been Frimouskino, which Offenbach had drafted in the late 1860s. Composed in Nice, Offenbach asked Nuitter and Ferrier to help him with the song lyrics as his regular collaborators, Henri Meilhac and Ludovic Halévy had distanced themselves in order to concentrate on other projects, including work with Charles Lecocq. Premiered at the Théâtre des Bouffes Parisiens, the piece was taken off after less than two months, and Le timbale d’argent returned to the Bouffes. Reflecting on his many previous successes, when the opera failed to run more than 50 performances, Offenbach wrote to Ludovic Halévy that ‘Offenbach’ was not to be found on the billboards for the 1878 Exhibition. The work is one of several by Offenbach with Spanish connections: Pépito, La Duchesse d’Albe and Les bavards. The malagueña was inserted as an additional song for Fiorella in the Christmas Day revival of Les brigands at the Théâtre de la Gaîté in 1878. Two lawsuits concerning the subject of the opera were brought - against Offenbach and after his death against the theatre manager Charles Comte - alleging that the subject matter had been plagiarized from a stage work by Oswald and Lévy.

Monsieur et Madame Denis is a one-act opéra comique with music by Jacques Offenbach to a French libretto by Laurencin (Paul-Aimé Chapelle) and Michel Delaporte, first performed in 1862. The work was based on a popular vaudeville, and included a ‘chaconne’ (also quoted in the overture) which became well known in its own right.

Orpheus in the Underworld and Orpheus in Hell are English names for Orphée aux enfers (French: [ɔʁfe oz‿ɑ̃fɛʁ]), a comic opera with music by Jacques Offenbach and words by Hector Crémieux and Ludovic Halévy. It was first performed as a two-act "opéra bouffon" at the Théâtre des Bouffes-Parisiens, Paris, on 21 October 1858, and was extensively revised and expanded in a four-act "opéra féerie" version, presented at the Théâtre de la Gaîté, Paris, on 7 February 1874. The opera is a lampoon of the ancient legend of Orpheus and Eurydice. In this version Orpheus is not the son of Apollo but a rustic violin teacher. He is glad to be rid of his wife, Eurydice, when she is abducted by the god of the underworld, Pluto. Orpheus has to be bullied by Public Opinion into trying to rescue Eurydice. The reprehensible conduct of the gods of Olympus in the opera was widely seen as a veiled satire of the court and government of Napoleon III, Emperor of the French. Some critics expressed outrage at the librettists' disrespect for classic mythology and the composer's parody of Gluck's opera Orfeo ed Euridice; others praised the piece highly. Orphée aux enfers was Offenbach's first full-length opera. The original 1858 production became a box-office success, and ran well into the following year, rescuing Offenbach and his Bouffes company from financial difficulty. The 1874 revival broke records at the Gaîté's box-office. The work was frequently staged in France and internationally during the composer's lifetime and throughout the 20th century. It is one of his most often performed operas, and continues to be revived in the 21st century. In the last decade of the 19th century the Paris cabarets the Moulin Rouge and Folies Bergère adopted the music of the "Galop infernal" from the culminating scene of the opera to accompany the can-can, and ever since then the tune has been popularly associated with the dance.

Robinson Crusoé is an opéra comique with music by Jacques Offenbach and words by Eugène Cormon and Hector-Jonathan Crémieux. It premiered in Paris on 23 November 1867. The writers took the theme from the 1719 novel Robinson Crusoe by Daniel Defoe, though the work owes more to British pantomime than to the book itself. Crusoé leaves his family in England and runs away to sea. He is marooned on an island with only his friend and helper Vendredi (Man Friday) for company. His fiancée and two family servants come to the island in search of him, and after narrow escapes from cannibals and pirates they seize the pirates' ship and set sail for home. The opera was written for the prestigious Opéra-Comique in Paris, his second work for that theatre, following the unsuccessful Barkouf seven years earlier. The music is on a grander scale than that of most of the composer's earlier works. The opera was well received but ran for only 32 performances. In the 20th century it was not revived until the 1970s (in London) and was not seen again at the Opéra-Comique until 1986.

Un mari à la porte (A Husband at the Door) is an opérette in one act of 1859 with music by Jacques Offenbach. The French libretto was by Alfred Delacour (Alfred Charlemagne Lartigue) and Léon Morand. Un mari à la porte was premiered by the Théâtre des Bouffes Parisiens at the Salle Lacaze in Paris. The premiere occurred shortly after the first operatic work with words by Eugène Labiche, and Yon discerns a similarity in the vaudevillian plot of Un mari à la porte with popular works by Labiche. The work remained in the repertory of the Bouffes Parisiens for some time. Popular not only in Paris, but also in Vienna and Budapest, it was widely staged until the end of the 19th century. The UK premiere was not until February 1950 at the Fortune Theatre. The score includes a comic lamentation for Florestan, a set piece quartet - with the baritone off-stage, and the most notable number, a Valse Tyrolienne (recorded in 1994 by Sumi Jo). It is still occasionally performed in France, and was staged in Liverpool in 2008, conducted by Vasily Petrenko.

This is a complete list of the 98 operettas of Jacques Offenbach (1819–1880).

This is a complete list of the 98 operettas of Jacques Offenbach (1819–1880).

Vert-Vert is an opéra comique in three acts by Jacques Offenbach, with a libretto by Henri Meilhac and Charles Nuitter, first performed on 10 March 1869 at the Paris Opéra-Comique. Based on the 1734 poem « Vert-Vert ou les voyages du perroquet de la visitation de Nevers » by Jean-Baptiste Gresset, the opera found little success and has only been occasionally revived, although a complete studio recording was released in 2010.