LES CONTES D'HOFFMANN
Opera in three acts, with a prologue and an epilogue, by Jacques Offenbach
Libretto by Jules Barbier, from the play of the same name by Jules Barbier and Michel Carré,
based on the stories Der Sandmann, Rath Krespel, Die Abenteuer der Silvesternacht, Geschichte vom
Verlorenen Spiegelbilde, and others by E.T.A. (Ernst Theodor Amadeus) Hoffmann, and on his life
First performed on 10 February 1881 in Paris
CAST
Hoffmann - Placido Domingo
Antonia - Ileana Cotrubas
Coppélius - Geraint Evans
Dapertutto - Siegmund Nimsgern
Dr Miracle - Nicola Ghiuselev
Nicklausse / Muse- Claire Powell
Spalanzani - Robert Tear
Schlémil - Philip Gelling
Frantz - Bernard Dickerson
Antonia's Mother - Phyllis Cannan
Chorus & Orchestra of the Royal Opera House, Covent Garden conducted by Georges Prêtre
Recorded live at the Royal Opera House, Covent Garden, 1981
Sung in French, with English subtitles
Background
LES CONTES D'HOFFMANN was first performed in Paris on 10 February 1881. The libretto was written by Jules Barbier and Michel Carre, after E.T.A. Hoffmann's 'Der Sandmann', 'Geschichte vom Verlorenen Spiegelbilde' and 'Rat Krespel'. Although the principal character in the opera is based on the real E.T.A. Hoffmann, the stories have absolutely nothing to do with real events in the life of E.T.A. Hoffmann. This is Offenbach's only successful opera - he composed only one other opera, the unsuccessful Die Rheinnixen - among a large number of very successful operettas. It is Offenbach's last work, and regarded by many as his finest. However, it was not quite completed at his death, and the final scoring was done by the composer Ernest Guiraud. Guiraud also provided recitatives, although the opera was intended to have spoken dialogue. A fascinating and at times disturbing work, it tells three interconnected stories in which Hoffmann is thwarted in love by his evil genius. Ideally, the four villains should be sung by the same man and the four heroines by the same woman, as they are aspects of the same persons. Contrary to most productions (such as the one in this video), the correct order of the three stories is Olympia - Antonia - Giulietta. The opera was an immediate success and has remained ever since one of the most popular of all operas.
JACQUES OFFENBACH was born as Jakob Eberst Offenbach in Cologne on 20 June 1819 and died in Paris on 5 October 1880. This German-born French composer and cellist was described by Rossini as 'the little Mozart of the Champs-Elysees'. His lifelong marriage to Herminie d'Alcain produced four daughters and one son. His operettas are irreverent and merciless satires on the society and morals of the Second Empire and often simultaneously debunk famous mythological stories. Offenbach also satirised famous composers, often by quoting their music in absurd situations or by setting it to ludicrous words. His own music is unfailingly tuneful, with tangy and sparkling orchestration, and is often marked by his exuberant high spirits. After the Franco-Prussian War and the fall of the Second Empire, the mood of Paris was less receptive to Offenbach's outrageous frivolity, and his later works are often of a more lyrical and sentimental character. He composed a number of German and French songs, a number of works for cello, and nearly 100 stage works, including the highly successful operettas Orphee aux Enfers, La Belle Helene, La Vie Parisienne, La Perichole, La Grande-Duchesse de Gerolstein, the two operas mentioned above, and five ballets.
SYNOPSIS
Prologue - Luther's tavern next to the opera house in Nuremburg
An invisible chorus of spirits of wine and beer is heard, celebrating the pleasures of alcohol. Andres, private secretary of the prima donna Stella, enters the tavern and is intercepted by Lindorf, who steals a letter from him. Lindorf opens the letter, takes out a key to Stella's private room, and reads the passionate declaration of love addressed to Hoffmann, a renowned drunkard. Lindorf assesses his chances of beating Hoffmann for her affections, and settles down to wait until the end of the performance of Don Giovanni at the opera house.
Luther, the tavern proprietor, enters, followed by waiters, to prepare for the arrival of Stella and her entourage at the end of the performance. As the first act of Don Giovanni finishes, a group of students and others crowd into the tavern, mocking Luther and demanding drink. Luther asks about Stella's performance and they drink a toast and praise her before asking the whereabouts of her lover Hoffmann. They jokingly suggest that Luther's wine has poisoned him; but just then Hoffmann arrives with his constant companion, Nicklausse. They sit down, only for Hoffmann to bury his head in his hands in an agitated, tormented state. The students persuade him to tell them one of his stories, about Kleinzach, a tiny, stunted and deformed creature, but in the middle of his story, his mind wanders to memories of his passion for Stella, until he is brought back to finish the story of Kleinzach.
Hoffmann finds Luther's beer disgusting and demands some punch. The students accuse Hoffmann of being in love, but he denies it. Just then he spots Lindorf, his hated rival. They exchange insults, and Hoffmann declares that he has never encountered him without some ill consequence - even in his love affairs. Remembering his love for Stella, an amalgam of previous women - artist, young girl and courtesan - he offers to tell the party the story of these three affairs. Luther announces that the curtain is about to rise for the second act of Don Giovanni; but the party prefer to light their pipes, fill their glasses and listen to the tales of Hoffmann's loves, the first of whom was Olympia.
Act I - Olympia: Spalanzani's house in Paris
Spalanzani, the eccentric inventor, is hoping to make some money from exploiting his latest creation, a mechanical doll, in order to recoup what he has lost from the failure of his banker, Elias. He is afraid that his former partner, Coppélius, might claim part of the proceeds for his contribution to the creation of the doll; but he reassures himself by reflecting that Coppélius is currently far away. Hoffmann enters, hoping to become a pupil of Spalanzani, but Spalanzani talks of his 'daughter' Olympia, and Hoffmann is puzzled to know what she has to do with science. Spalanzani leaves the room with his servant Cochenille to prepare for the arrival of his guests, and in his absence, Hoffmann moves aside a curtain. His heart leaps when he sees what he believes to be the sleeping figure of Spalanzani's 'daughter'. Nicklausse arrives and makes fun of Hoffmann's infatuation, warning him of what he may find as he gets to know her better, illustrating this with a story of a mechanical cockerel that dances with a clockwork doll. Coppélius arrives unexpectedly and introduces himself and his collection of optical instruments. He sells Hoffmann a pair of spectacles which will permit him to see 'deep into a woman's heart'.
Spalanzani returns and is disconcerted to encounter Coppélius, who demands a share of the money that is about to come Spalanzani's way. He points out that he supplied Olympia's eyes, and to keep him quiet, Spalanzani sends him off with a worthless cheque drawn on the banker Elias. Cochenille announces the arrival of the representatives of Parisian society who have been invited to see the doll. They enter to the sounds of a Minuet and spend some time admiring Spalanzani's house. Spalanzani now produces his 'daughter', the doll Olympia, who attracts universal admiration. He announces that she will sing an aria accompanied on the instrument of the audience's choice, and when a harp is produced, she proceeds to sing in mechanical fashion, from time to time having to be recharged.
Spalanzani announces supper and asks Hoffmann if he would care to accompany Olympia. Still unaware that she is merely a doll, Hoffmann accepts rapturously. Left alone, he expresses his admiration for her, evincing from her a single word 'Oui', whenever he touches her on the shoulder. Finally he presses her hand passionately, at which she rises and leaves with eccentric movements through one of the doors. Hoffmann is prevented from following her by the return of Nicklausse, who appeals to him to forget about the doll, but Hoffmann refuses to believe Nicklausse's suggestions that Olympia is not a living creature and rushes out after her. Nicklausse follows, after which a furious Coppélius returns, having discovered that the bank draft is worthless. Vowing vengeance, he hides nearby.
The guests return, dancing, and Hoffmann begins to waltz with Olympia; but as their movements become ever more animated, Hoffmann is unable to keep up and collapses, breaking his magic spectacles. Spalanzani and Cochenille regain control of Olympia. As the dazed Hoffmann recovers, Cochenille sees Coppélius, who destroys the doll. Having finally realised that Olympia was merely a mechanical invention, Hoffmann collapses again, subjected to the mockery of all the guests.
Act II - Giulietta: Giulietta's palace in Venice
Giulietta, a courtesan, is giving a soiree, and her guests are grouped around as she and Nicklausse sing a Barcarolle. Hoffmann enters and breaks the mood of the party with a vigorous drinking song. Giulietta's current lover, Schlémil, enters, and she provocatively introduces him to Hoffmann. All leave to play cards, except Hoffmann and Nicklausse. Nicklausse warns Hoffmann against Giulietta's dangerous charms. As they in turn leave, Dapertutto, an evil magician, arrives swearing to possess Hoffmann as he already does Schlémil. He produces a ring with a large, brilliant diamond, and when Giulietta appears he entices her with it. Although she has already given him Schlémil's shadow, he now wishes her to obtain Hoffmann's reflection for him. He leaves, and when Hoffmann re-enters, Giulietta proceeds to arouse his passion. He confesses his rapture, whereupon Giulietta asks for something of his to remember him by. When he agrees she shows him a mirror and explains that she wants his reflection. His passion by now fully aroused, Hoffmann swears that his reflection, his love and his life are all hers.
Schlémil discovers Hoffmann and Giulietta together and is urged by Pittichinaccio, Giulietta's servant, to kill Hoffmann. Dapertutto comments on how pale Hoffmann looks and presents him with a mirror, only for Hoffmann to discover in fright that he has indeed lost his reflection. Nicklausse urges him to leave, but he refuses. He curses his passion for Giulietta, and the comments of all the other characters build up into a grand Septet. The guests leave as the Barcarolle is heard again, and Giulietta signals to Hoffmann as she enters her room. The latter demands from Schlémil the key to Giulietta's room at which Schlémil draws his sword, challenging Hoffmann to a duel. Schlémil is killed, Hoffmann takes the key and enters Giulietta's room, but she has gone. He returns to find her in a gondola, mocking him and welcoming her servant Pittichinaccio to her arms.
Act III - Antonia: Crespel's house in Munich
Crespel has only recently arrived in Munich, and has brought with him a portrait of his dead wife, and his collection of musical instruments. His daughter Antonia, is alone, seated at the piano singing a nostalgic song about a lost love.
She has inherited her mother's glorious voice, but also - unknown to her - her mother's fatal chest complaint; after finishing her song she sinks on to the couch exhausted. Crespel rushes in and reminds her of her promise never to sing. But she explains that her mother is reborn in her and that in singing she believes she hears her mother's voice. Eventually, however, she agrees to her father's pleas. Left alone, Crespel muses on the way he has had to flee to Munich to keep Antonia from the influence of her lover, Hoffmann. He instructs his deaf old servant, Frantz, to open the door to nobody. The latter reflects on how is on the watch day and night and likes to entertain himself with a little singing and dancing.
To Frantz's surprise, Hoffmann enters by the back door with Nicklausse and demands to see Antonia. Awaiting her arrival, Hoffmann sits at the piano and accompanies himself in a love song. Antonia comes in, having recognised the song, and they declare their love for each other. Hoffmann begs her to sing, and although she tells him of her father's ban, she sits at the piano and sings with him the love song that Hoffmann had himself sung earlier. At the end, however, she nearly collapses, to Hoffmann's concern. Just then Crespel is heard returning. Antonia runs to her room; but Hoffmann hides, determined to solve the mystery.
Frantz announces the arrival of Dr Miracle, whom Crespel promptly denounces as a murderer who will kill his daughter as he had done her mother. Dr Miracle enquires after Antonia and the disease she has inherited. Crespel threatens to throw him out, but Dr Miracle begs to see her. He summons the invisible Antonia to the room, and pretends to be giving her a medical examination. Finally he commands her to sing. He pulls out several bottles containing potions that he claims will cure her, while Crespel vainly tries to get him to leave, and Hoffmann (still in hiding) vows to save Antonia from her threatened death.
Eventually Crespel throws Dr Miracle out. Antonia reappears, but Hoffmann refuses her request to know what her father has said, and merely begs her not to sing. Expecting her father to reappear, Hoffmann bids farewell. When he has gone, however, Dr Miracle returns and conjures up for Antonia the life she would be rejecting to marry Hoffmann. Looking at the portrait of her mother on the wall, Antonia pleads for guidance; but Dr Miracle explains that it is already her mother who is advising her through his voice. At Dr Miracle's bidding, the portrait comes to life and greets Antonia. Dr Miracle grabs a violin and urges Antonia to sing. Eventually she falls, exhausted, as the picture resumes its inanimate form and Dr Miracle vanishes. Crespel rushes in, but Antonia dies in his arms. Distraught, he turns on Hoffmann, who has returned at that moment with Nicklausse. He blames Hoffmann for Antonia's death and lunges at him, only to be restrained by Nicklausse. Hoffmann desperately calls for a doctor, but it is too late - Antonia is dead.
Epilogue - Luther's tavern next to the opera house in Nuremburg
Hoffmann has now finished telling the story of his three loves just as the curtain is falling on the last act of Don Giovanni in the opera house. Luther enters to announce Stella's triumph. Nicklausse explains to everyone that the three previous loves are part and parcel of Stella, and he proposes a toast to her. Furious, Hoffmann smashes his glass and vows to seek solace in more wine. His companions repeat their drinking song as they depart. Hoffmann remains, in a drunken state of collapse, and when Stella arrives, he fails to recognise her. Sadly, she leaves with Lindorf, who has been waiting for her. Nicklausse is transformed into a vision of Hoffmann's poetic muse, and begs him to renounce his earthly passions in favour of his Art. Hoffmann, now completely alone, is forced to choose.
