Offenbach’s The Tales of Hoffmann is one of his most enduring operas, with the suggestion that it is incomplete – it premiered some four months after its composer’s death – lending it to interpretation which director Damiano Michieletto has taken full advantage of here in this lavishly visual staging which weaves magic and mystery through oft-imagined memories.
At the tavern, poet Hoffmann (Juan Diego Flórez) is losing himself to drink. His rival in love, Councillor Lindorf (Alex Esposito), 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…
Accompanied by Nicklausse (Julie Boulianne), the oft ignored voice of reason throughout, Hoffmann tells of his infatuation for the mechanical doll, Olympia (Olga Pudova) who is destroyed by the inventor Coppélius. Next comes the gentle Antonia (Ermonela Jaho) is forced to sing to her death by the wicked Doctor Miracle. Finally, the courtesan Giulietta (Marina Costa-Jackson) who throws over his adoration in favour of jewels from the magician Dappertutto.
His stories finished, Hoffmann rouses from his drunken stupor to find Lindorf has made off with, Stella (Maria Leon), Hoffmann’s latest love – but his spiritual muse (Christine Rice) compels him to transform his heartache into art.
Michieletto’s direction perfectly captures the themes of sadness, loneliness, and togetherness through Hoffmann’s somewhat nostalgic and surreal memories, where what it means to be human is seen through the counterpoints of good and evil, with the darker undertones of the latter providing a strong subtext throughout as fantasy and reality become interchangeable in the recalled events.
Paolo Fantin’s set design is superb capturing the three distinct scenes: Spalanzani’s school; Crespel’s home; and the boudoir of a Venetian palace, with Carla Teti’s costume design capturing the intricacies of each age and location, and the choice of colours blending perfectly with Alessandro Carletti’s lighting design which was equally impressive as it caught the ambience and mood of each unfolding scene from earthy, grounded greens through to the more devilish red and mauve. The impressive use of light, dark and shadow was further complemented through Chiara Vecchi’s choreography with the cast, chorus and select members of the ballet company blocked effectively to add another composed layer in combination with good use of visual projection and suspended props.
I’m less convinced about the decision to split the role of Muse and Nicklausse which are typically combined: this is not a reflection on the performance Boulianne or Rice, the latter who provided a glittering introduction to each scene, but rather the re-imagining of Nicklausse as a colourfully feathered parrot that just felt at odds with everything else that was so wonderful about this productions staging.
Conductor Antonello Manacorda sweeps the orchestra along to the unfolding action with flourish, whilst remaining alert to the dramatic ambiguities and mercurial shifts in mood that are littered throughout.
Flórez is a considered Hoffmann who sings strongly as he is literally transformed and taken back in time as an impressionable boy, a hopeful young man, and the older, bitter cynic.
Pudova and Costa-Jackson were both on their Royal Opera House debuts with the former providing a delightfully jerky Olympia with an accomplished coloratura which deservedly received audience acclaim, whilst the latter’s Giulietta was a commanding courtesan with vocal to match.
Jaho’s Antonio – usually a singer but here a broken ballerina – provided the emotional depth through an intimate and moving performance with quality vocal to match, with special mention for Alastair Miles’ sympathetic portrayal of her desperate father.
Throughout, Esposito in one form or another steals Hoffmann’s loves at each turn and unsurprisingly stole the show with an inspired and mesmerising performance that perfectly balanced the comic elements with the darker undertones at play.
A special mention too for Christophe Mortagne who wonderfully plays the four servants portrayed in each scene.
Reviewer: Mark Davoren
Reviewed: 15th January 2025
North West End UK Rating:
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