Jacques Offenbach's 19th century parody of life under the yoke of Napoleon III, La Belle Hélène, has always seemed as tongue-in-cheek as the material could go. This new staging from the Théâtre Musical de Paris' 2000 season proves you can always go further. As if the social comment and knowing musical allusions (eg: Wagner's Tannhäuser) weren't enough, now via director Lauren Pelly's imagination Helen (Dame Felicity Lott) becomes a modern sexually frustrated woman dreaming the entire scenario. In her dream she is singled out as the most beautiful woman on Earth (prompting vain delusions to rival Snow White's wicked stepmother) as reward for Pâris (Yann Beuron) choosing Venus as most beautiful Goddess off Earth. Act 1 takes place in the bedroom and bed of Helen and ineffectual husband/king Ménélas (Michel Sénéchal). Here the fusion of costumes worn by High Priest Calchas (François Le Roux) seems incongruous until the archaeological dig setting of Act 2 turns everything into a dream. From then on, the analogy of bed as throne, the sheep costumes and male and female swimsuit parade followed by synchronised stage "swimming" of Act 3 all take on greater significance. Les Musicians du Louvre give a tremendous performance under Marc Minkowski's baton (which you often see popping into frame), particularly in the centrepiece duet between Lott and Beuron for their "Dream of Love". Contemporary makeovers of opera often lose sight of the original's intentions, but this update certainly preserves the spirit of Offenbach's vision.

On the DVD: A choice of Stereo, Dolby 5.1 or DTS is a testament to the careful staging of this production, as is the video's multi-camera edit. In fact, the 25-minute behind-the-scenes documentary reveals the DVD was conceived as part of the staging. Four interviews make this a most welcome supplement, with Dame Lott having the most to say. --Paul Tonks

Offenbach's operetta La Belle Hélene, which pokes fun at the Parisian upper class of a century and a half ago through tales of ancient Greece, requires a leap of imagination on behalf of today's audience that this production only partly succeeds in reconciling. On musical grounds we're on sure footing. Nikolaus Harnoncourt conducts the chorus and orchestra of the Zurich Opera House with his customary flair for precise and taut rhythms and an appreciation of the composer's wit and the good tunes that are a-plenty. His multi-national cast headed by Vesselina Kasarova as Helen of Troy and Deon van der Walt as her lover Paris are excellent and among the smaller parts there's a lively and stylish performance from Liliana Nichiteanus as Oreste. The video direction by Hartmut Schroder and the superb sound obtained from the relatively intimate Zurich Opera House, a delightful setting for this operetta, are further assets. The production alas is unenlightening and perpetrates an over-the-top style that seems to be synonymous with Offenbach. The backdrop, a pink concave awning is hideous. The costumes by designer Jean-Charles de Castelibajac are silly: Paris is dressed in lederhosen and looks a twerp, Calchac, the high priest wears a Ku Klux Klan hat and Helen at one point looks as though she'll take to absailing. Kasarova suggests the lure of Helen in her voice but a beauty she's not. So it's left to Harnoncourt who joins the company at the curtain call with a twinkle in his eye and a nifty side step and his superb orchestra to remind us what might have been. --Adrian Edwards

Offenbach's 1867 La Vie Parisienne is perhaps the quintessential French comic operetta: a broad satire on Paris society set against the backdrop of the 1867 Exposition and the descent of easily lampooned foreigners on to the city; sharp moments that Molière would be proud of; undercurrents of quick-fire farce, confusion, lust and mistaken identity; and a rich cast of characters racing inexorably to a can-can finale.

This 1991 production by the Lyon National Opera presents a welcome opportunity to revel in a uniquely Gallic confection rarely seen outside France. It's also a chance to enjoy one of Offenbach's most inventive, melodic scores in which the starring musical role and many of the best tunes go to the orchestra, here conducted by Jean-Yves Ossonce. This is no accident: the operetta was originally created for a company of actors who relied on pastiche and the composer's help to get them through their "numbers". Not so these singers, of course. As Metella, the languorous courtesan who is responsible for the unravelling debacle, Helene Delavault is in meltingly good voice for her show-stopping rondeau, "A minuit sonnant commence la fete". Her sparring suitors Gardefeu (Jean-Francois Sivadier) and, particularly, Bobinet (Jacques Verzier) combine marvellous visual comedy with fluid singing and there is some dazzling vocal work from the supporting cast. It's a long piece, but hugely enjoyable.

On the DVD: La Vie Parisienne has the usual, excellent booklet notes of ArtHaus DVD releases, which go some way to compensate for a disappointing lack of extras. Time, surely, to introduce some on-screen history or cross-references to other relevant works. The picture quality is good and sharp, although the 4:3 format does little justice to Carlo Tommasi's sweeping, stylish sets. The PCM Stereo soundtrack provides an adequate orchestral experience while managing to muffle much of the spoken dialogue. --Piers Ford

Based on the Dilbert concept of cubicle tortures this movie traces the life of a regular employee who decides to neglect his job for a while. Surprise!! He soon finds himself running the company.