When I was given the opportunity to stage this operetta (unfortunately, one too often limited to a performance with piano accompaniment, eliminating the orchestral range and palette of colours the theatrical aspect requires) together with a work as astonishing as it is mythical: Arnold Schönberg’s Von Heute auf Morgen, I wanted to create a transcription which both respected Offenbach’s music and was singular in itself. I decided to use as a model the ensemble for Pierrot lunaire (flute clarinet, violin, cello, piano) which I consider the perfect reduced version of a symphony orchestra. 

Also, as is traditional with these operettas, I introduced a few appropriate musical references such as Gounod’s Faust, Weber’s Der Freischütz, and also Stravinsky’s The Soldier’s Tale, as a nod to the Georges’ bewitched violin. I wonder if Offenbach is turning in his grave or smiling? I’ll find out when we meet later… 

Takénori Némoto