scholarly and reliable scores of Offenbach's operas, under the editorship of Keck. The first to be published, in 2002, was the 1858 version of . The Offenbach Edition Keck has subsequently published the 1874 score, and another drawing on both the 1858 and 1874 versions. Overture and galop The best-known and much-recorded overture is not by Offenbach, and is not part of either the 1858 or the 1874 scores. It was arranged by the Austrian musician Carl Binder (1816–1860) for the first production of the opera in Vienna, in 1860. Offenbach's 1858 score has a short orchestral introduction of 104 bars; it begins with a quiet melody for woodwind, followed by the theme of Jupiter's Act 2 minuet, in A major and segues via a mock-pompous fugue in F major into Public Opinion's opening monologue. The overture to the 1874 revision is a 393-bar piece, in which Jupiter's minuet and John Styx's song recur, interspersed with many themes from the score including , the couplets , the , the section of the Act 2 finale, and the Act 4 galop. Fifteen years or so after Offenbach's death the galop from Act 2 (or Act 4 in the 1874 version) became one of the world's most famous pieces of music, when the Moulin Rouge and the Folies Bergère adopted it as the regular music for their can-can. Keck has commented that the original "infernal galop" was a considerably more spontaneous and riotous affair than the can-can (Keck likens the original to a modern rave) but the tune is now inseparable in the public mind from high-kicking female can-can dancers. Numbers Reception 19th century From the outset divided critical opinion. Janin's furious condemnation did the work much more good than harm, and was in contrast with the laudatory review of the premiere by Jules Noriac in the , which called the work, "unprecedented, splendid, outrageous, gracious, delightful, witty, amusing, successful, perfect, tuneful". Bertrand Jouvin, in , criticised some of the cast but praised the staging – "a fantasy show, which has all the variety, all the surprises of fairy-opera". The thought that though it would be wrong to expect too much in a piece of this genre, was one of Offenbach's most outstanding works, with charming couplets for Eurydice, Aristée-Pluton and the King of Boeotia. called the cast "thoroughbreds" who did full justice to "all the charming jokes, all the delicious originalities,