Lyrics by Jacques Offenbach
Do you love Jacques Offenbach's songs? Here you'll find the lyrics to Jacques Offenbach's songs so you can sing them at the top of your lungs, make your own versions, or simply understand them properly.
We have compiled all the lyrics of Jacques Offenbach's songs we could find so that those who, like you, are looking for songs by Jacques Offenbach, find them all in one place.
- Les Contes D'hoffmann (Les Oiseaux Dans La Charmille)
- Boule de Neige: Couplets de La Dompteuse
- Les Oiseaux Dans La Charmille
- Vert-Vert: Couplets
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 Jr. 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 but 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.
You might not be a big fan of Jacques Offenbach, maybe you're here for just one song by Jacques Offenbach that you like, but take a look at the rest, they might surprise you.
It often happens that when you like a song by a specific group or artist, you like other songs of theirs too. So if you like a song by Jacques Offenbach, you'll probably like many other songs by Jacques Offenbach.
The lyrics of Jacques Offenbach's songs often follow certain patterns that you can discover if you pay close attention. Are you up for finding out what they are?
To discover the patterns in Jacques Offenbach's songs, you just have to read their lyrics carefully, paying attention not just to what they say, but how they are constructed.
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