Alceste also has no role for the castrato voice, although Gluck would return to using a castrato in his next opera, Paride ed Elena, and even rewrite the tenor role of Admetus for the soprano castrato Giuseppe Millico, in the 1770 revival of Alceste in Vienna. In 1774, while travelling through Paris, he was also called upon to perform in private the French version of Orphée et Eurydice (with Gluck himself at the harpsichord) before it was premiered at the Opéra.