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Line 362: [https://gallica.bnf.fr/ark:/12148/bpt6k5354235/f3.item.r=Guy%20Jupiter%20Offenbach.zoom "Courrier des Spectacles"], ''Le Gaulois: littéraire et politique'', 10 May 1912, p. 1 (all in French)</ref> as were several more of his operas,<ref>Gänzl and Lamb, pp. 286, 296, 300 and 306</ref> and criticisms on moral or musical grounds had largely ceased. Gabriel Groviez wrote in ''[[The Musical Quarterly]]'': {{quote|The libretto of {{lang|fr|Orphée}} overflows with spirit and humour and the score is full of sparkling wit and melodious charm. It is impossible to analyse adequately a piece wherein the sublimest idiocy and the most astonishing fancy clash at every turn.{{nbsp}}[...] Offenbach never produced a more complete work.<ref>Grovlez, Gabriel. [http://www.jstor.org/stable/738195 "Jacques Offenbach: A Centennial Sketch"] {{Webarchive|url=https://web.archive.org/web/20160809012324/http://www.jstor.org/stable/738195 |date=9 August 2016}}, ''The Musical Quarterly'', July 1919, pp. 329–337</ref>}} Among modern critics, Traubner describes {{lang|fr|Orphée}} as "the first great full-length classical French operetta{{nbsp}}[...] classical (in both senses of the term)", although he regards the 1874 revision as "overblown".<ref name=traubner>Traubner (1997), pp. 267–268</ref> [[Peter Gammond]] writes that the public appreciated the frivolity of the work while recognising that it is rooted in the best traditions of opéra comique.<ref>Gammond, pp. 55–56</ref> Among 21st-century writers [[Bernard Holland]] has commented that the music is "beautifully made, relentlessly cheerful, reluctantly serious", but does not show as the later ''[[Tales of Hoffmann]]'' does "what a profoundly gifted composer Offenbach really was";<ref>Holland, Bernard. [https://www.nytimes.com/2006/11/18/arts/music/18juil.html "A U.P.S. Man Joins Offenbach’s Gods and Goddesses"] {{Webarchive|url=https://web.archive.org/web/20190423164342/https://www.nytimes.com/2006/11/18/arts/music/18juil.html |date=23 April 2019 }}, ''The New York Times'', 18 November 2006, p. B14</ref> [[Andrew Lamb (writer)|Andrew Lamb]] has commented that although {{lang|fr|Orphée aux enfers}} has remained Offenbach's best-known work, "a consensus as to the best of his operettas would probably prefer {{lang|fr|[[La Vie parisienne (operetta)|La vie parisienne]]}} for its sparkle, {{lang|fr|[[La Périchole]]}} for its charm and {{lang|fr|[[La belle Hélène]]}} for its all-round brilliance".<ref>Lamb, Andrew. [http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000020271 "Offenbach, Jacques"], ''Grove Music Online'', Oxford University Press, 2001. Retrieved 26 April 2019. {{subscription}} {{Webarchive|url=https://web.archive.org/web/20190401230954/http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000020271 |date=1 April 2019 }}</ref> [[Kurt Gänzl]] writes in ''The Encyclopedia of the Musical Theatre'' that compared with earlier efforts, {{lang|fr|Orphée aux enfers}} was "something on a different scale{{nbsp}}[...] a gloriously imaginative parody of classic mythology and of modern events decorated with Offenbach's most laughing bouffe music."<ref>Gänzl, p. 1514</ref> In a 2014 study of parody and burlesque in {{lang|fr|Orphée aux enfers}}, Hadlock writes: | |||