When Germaine Tillion and her fellow inmates developed their “opérette-revue” at Ravensbrück, they chose to set their words to several songs from various important works of the operetta repertoire. Operetta, a genre marked by a certain oppression from its birth and throughout its history, found itself strangely at home in a concentration camp. To begin with, the title Le Verfügbar aux Enfers refers to Jacques Offenbach’s masterpiece, Orphée aux Enfers (1858), and the other works quoted, La Fille de Madame Angot by Charles Lecocq (1872), Phi-Phi by Henri Christiné (1918), Ciboulette by Reynaldo Hahn (1923), and Trois Valses by Oscar Straus (1937), each in its own way mark important moments in the history of the genre. These works depict sassy, resourceful, and happy heroines who triumph through their intelligence, which is equal or superior to that of their male counterparts. This evocative power shines through Le Verfügbar aux Enfers, a shelter in the storm for women who delved into light music to find the strength to survive.