Offenbach’s final opera, Les Contes d’Hoffmann (The Tales of Hoffmann), presents three fantastical stories from the life of the poet E.T.A. Hoffmann. Tragically, Offenbach passed away just months before its premiere, leaving the opera unfinished. The narrative unfolds in a tavern, where Hoffmann, increasingly drunk, recounts the tragic loves of his life.
Act 1 introduces Olympia, a doll (here reimagined as a robot from Hoffmann’s school), Act 2 features Antonia, a singer forbidden from performing due to a hereditary disease (recast as a ballet dancer in this production), and Act 3 tells of Giulietta, a Venetian courtesan who steals Hoffmann’s reflection. The final act returns to the tavern, where Hoffmann’s latest love, Stella (representing all three women), abandons him in his drunken stupor.
Damiano Michieletto’s production, originally meant to premiere in London, was delayed by the pandemic and debuted in Sydney. This new Royal Opera House version is a dazzling spectacle of glamour, dance, surrealism, and fantasy. It also features several newly discovered music passages, with added arias for Nicklausse, Giulietta, and duets for Hoffmann. RBO’s version is 25 minutes shorter than the Met’s, but it includes music that has rarely been heard.
The Muse is reimagined as a hallucinatory green fairy, sprinkling dust to release Hoffmann’s memories. The Kleinzach song, traditionally uncomfortable, is replaced by a tall, magical spirit, adding a mystical quality to the opening scene. Ballet dancers, bathed in green and red light, complement the Four Villains, enhancing the surreal atmosphere.
Any Hoffmann production relies on stellar performances, and RBO delivers with luxury casting and superb singing. Juan Diego Flórez as Hoffmann is outstanding. His voice is passionate, lyrical, and emotionally rich, adding top notes with remarkable ease. He captures Hoffmann’s emotional arc, from a schoolboy infatuated with a robot to a tragic, drunken poet.
Olga Pudova as Olympia is a showstopper, delivering an exhilarating coloratura aria, Les oiseaux, with effortless top notes. Her robotic movements while singing add another layer of theatricality to the character.
Ermonela Jaho as Antonia is equally captivating. Her difficult entrance aria, Elle a fuit, is sung while she drags one leg, a striking portrayal of physical fragility, yet her voice remains smooth and elegant throughout. The decision to cast Antonia as a dancer, however, doesn’t quite align with the music, though it provides comic relief with Christophe Mortagne as Franz, who hilariously attempts to teach children to dance.
Alex Esposito excels as the four villains, using his rich bass-baritone voice and commanding stage presence to dominate each scene. His portrayal is both sinister and captivating, enhanced by impressive magic tricks.
Michieletto’s decision to split the roles of Nicklausse and The Muse is an intriguing one, though the character of Nicklausse as Hoffmann’s daemon parrot feels unnecessary. Julie Boulianne, as Nicklausse, sings with a beautiful timbre, but the parrot concept is a distraction from the original role’s camaraderie with Hoffmann. Christine Rice, as the Muse and Antonia’s mother, sings gorgeously, though her role is somewhat diminished by her position on the side of the stage.
The Venice setting in Act 3 lacks the traditional gondolas and water, which diminishes the effect of the iconic Barcarolle, meant to evoke a rippling lagoon. Marina Costa-Jackson as Giulietta has a striking lower register, though her portrayal is less fluid than others.
The traditional ending, where Hoffmann is abandoned in a drunken haze, feels more emotionally powerful than this production’s extended conclusion, which includes 15 extra minutes of music and a more optimistic resolution.
Despite these minor quibbles, this is a thrilling production with superstar performances, breathtaking visuals, and a captivating score. The added music, the choreography, and the stunning cast make this Hoffmann one of the best productions of the opera in recent years. Don’t miss it when it’s broadcast live to cinemas on January 15th.
Royal Opera House,
Music by Jacques Offenbach (1819 – 1880)
Libretto by Jules Barbier
Conducted by Antonello Manacorda
Directed by Damiano Michieletto
Sets by Paolo Fantin
First performance Opéra-Comique, Paris, 10 th February 1881 (without the third Venice act).
Photo Credit Camilla Greenwell
Cast includes Juan Diego Flórez, Julie Boulianne, Alex Esposito, Olga Pudova, Ermonela
Jaho, Marina Costa-Jackson, Alastair Mies, Christine Rice, Christophe Mortagne, Jeremy
White, Ryan Vaughan Davies, Vincent Ordonneau
Running time 3 hours 35 minutes with two intervals
Until: 1 st December 2024
Live at cinemas 15 th January 2025