Offenbach’s Les Contes d’Hoffmann is the most enduring ‘serious’ opera from a composer better known for his operettas and Gina Lapinski’s 2016 revival of Bartlett Sher’s evocative Kafkaesque production provides the perfect vehicle in which Offenbach’s story – in turn witty, erotic, and macabre – and highly melodious music come together to form a deeply and satisfying whole.
Set in the 19th C, the great storyteller Hoffmann (Benjamin Bernheim) is losing himself to drink. His rival in love, Councillor Lindorf (Christian Van Horn), claims that Hoffmann knows nothing of the heart, and so goads Hoffmann into telling the tales of his three great loves – each destroyed by a villain who bears an uncanny resemblance to Lindorf…
First Hoffmann tells of his infatuation for the mechanical doll, Olympia (Erin Morley) – who is destroyed by the inventor Coppélius. Next comes the courtesan Giulietta (Clémentine Margaine), who throws over his adoration in favour of jewels from the magician Dappertutto. Finally, the gentle Antonia (Pretty Yende) is forced to sing to her death by the wicked Doctor Miracle. His stories finished, Hoffmann rouses from his drunken stupor to find Lindorf has made off with Stella (Yende), Hoffmann’s latest love – but his spiritual muse, Nicklausse (Vasilisa Berzhanskaya), the accompanying but oft ignored voice of reason throughout, compels him to transform his heartache into art.
Drawing on styles from both Hoffmann and Offenbach’s times, Michael Yeargan’s magnificent set designs and Catherine Zuber’s sumptuous costumes realise to brilliant effect the extravagant flourishes of Hoffmann’s imaginative world, although with two intervals and two lengthy stage pauses for scene changes, Conductor Marco Armiliato, on his 500th performance at The Met, has to sweep the orchestra along, whilst remaining alert to the dramatic ambiguities and mercurial shifts in mood and its occasional nod to the melodies of the synagogue.
The Chorus under the guidance of their new Chorus Director, Tilman Michael, excel throughout this rich and sumptuous production with its distinctive nod towards the dark, decadent, and dangerous exacerbated through James F Ingalls lighting design, whilst Dou Dou Huang’s choreography entertains at key moments whilst segueing us seamlessly between acts.
Bernheim is the star of the show as Hoffman and throws himself body and soul into portraying this man of many parts with great energy – with his ‘Kleinzach’ a particular delight with its hint of klezmorim – as the tales, real or imagined, begin to unravel and dreams and desires turn to despair and disillusionment. With a glint in his eye and a knowing wink, Van Horn dogs Hoffmann throughout with a suitable mix of humour, menace, and charm in his alter-ego roles. Bernheim and Van Horn have an established relationship playing these same roles elsewhere, and with a natural chemistry and ability to read each other, this production benefits strongly as a result.
In the outstanding comic moment of the opera, Morley provides a delightfully jerky performance as the doll Olympia whose battery keeps running down as she sings and performs it beautifully with her staccato high G triplets impressive. Margaine provides a seductively evil Giuletta whilst Yende’s fragile Antonia is heart-breaking. Berzhanskaya, on her company and role debut, is superb throughout, breathing new life into her role as the insightful Nicklausse, with her Act III duet with Margaine a delight and her mimicry of Olympia played out well for laughs. A special mention for Aaron Blake who wonderfully plays the four servants portrayed in each scene, with his Act II Frantz solo particularly enjoyable.
Reviewer: Mark Davoren
Reviewed: 5th October 2024
North West End UK Rating: