Things liven up as the most famous number in the opera, the "Galop infernal", begins, and all present throw themselves into it with wild abandon (). Ominous violin music heralds the approach of Orphée (Entrance of Orphée and Public Opinion), but Jupiter has a plan, and promises to keep Eurydice away from her husband. As with the standard myth, Orphée must not look back, or he will lose Eurydice forever (). Public Opinion keeps a close eye on him, to keep him from cheating, but Jupiter throws a lightning bolt, making him jump and look back, and Eurydice vanishes. Amid the ensuing turmoil, Jupiter proclaims that she will henceforth belong to the god Bacchus and become one of his priestesses. Public Opinion is not pleased, but Pluton has had enough of Eurydice, Orphée is free of her, and all ends happily. Revised 1874 version The plot is essentially that of the 1858 version. Instead of two acts with two scenes apiece, the later version is in four acts, which follow the plot of the four scenes of the original. The revised version differs from the first in having several interpolated ballet sequences, and some extra characters and musical numbers. The additions do not affect the main narrative but add considerably to the length of the score. In Act I there is an opening chorus for assembled shepherds and shepherdesses, and Orpheus has a group of youthful violin students, who bid him farewell at the end of the act. In Act 2 Mercure is given a solo entrance number (). In Act 3, Eurydice has a new solo, the (), Cupidon has a new number, the (), the three judges of Hades and a little band of policemen are added to the cast to be involved in Jupiter's search for the concealed Eurydice, and at the end of the act the furious Pluton is seized and carried off by a swarm of flies. Music The score of the opera, which formed the pattern for the many full-length Offenbach operas that followed, is described by Faris as having an "abundance of couplets" (songs with repeated verses for one or more singers), "a variety of other solos and duets, several big choruses, and two extended finales". Offenbach wrote in a variety of styles – from Rococo pastoral vein, via pastiche of Italian opera, to the uproarious galop – displaying, in Faris's analysis, many