Jacques Offenbach’s opera
The Tales of Hoffman is a classic French confection of lost loves, Faustian pacts, and artistic anguish. This new iteration of the 2007 Opera Australia production is also classically French: it looks superb, is stylish, sexy and funny, and takes itself just a little too seriously.
As the name suggests, this is Hoffmann’s story, and it’s not a happy one. The curtain rises on Hoffmann, a poet drowning his sorrows in the local tavern and pining for Stella, his love of the moment. The following three acts tell the story of Hoffmann’s disastrous love life with Olympia, Giulietta, and Antonia, before returning us to the bar just in time to see Hoffmann lose Stella as well.
We can only thank Offenbach for a magical score as the libretto by Jules Barbier has not really stood the test of time. The opening lines “I am the spirit of beer. I am the spirit of wine” are a fair indication of the storyline.
Not that opera has ever really been about the story: It’s about the singing and the spectacle, and this production does not disappoint on either count. This really is a spectacular production due in large part to the brilliant mirrored set designed by Tony Award winner Roger Kirk. Every detail in every scene complements the story-telling. Kirk’s costume design is also superb, although I do think the suits and leather men in the bar scene are a bit of a cliché. All was forgiven with the divine dolls and the sumptuousness of the Venetian colours and textures.
The title role is played vigorously by tenor Rosario La Spina, reprising his part from the successful Sydney and Melbourne seasons. He has a masterful presence throughout although he doesn’t really look like the sort of chap who would fall in love with a doll (Olympia) or a high-class tart (Giulietta). La Spina was in control on every note and maintained his dignity in every scene, although he was tested by the unconvincing sword fight in Act 11. Perhaps poison would have been better?
Hoffmann’s love interests – all four of them – are played magnificently by Emma Matthews, also reprising her earlier role. Matthews is outstanding, especially as the mechanical Olympia in Act 1. She was in delightful voice for the “Doll Song”, one of Offenbach’s better-known pieces from this work, and was exceptionally moving as Antonia in Act 111, singing with great precision and emotion.
Baritone Douglas McNicol has the most fun as the four faces of evil Lindorf, Coppelius, Dapertutto, and Dr Miracle, and is a convincingly menacing presence on stage. His “Diamond Aria” in Act 11 was one of the highlights of the production. True to the spirit of this panto for grown-ups, Satan got a hearty “boo” from the audience as he took his final bow.
Well-known local singer Adam Goodburn is kept busy as Nathanael, Andres, Cochenille, Pittichinaccio and Franz, and is especially resplendent as the flouncing courtier in the Venetian scene. Mezzo-soprano Sally-Anne Russell keeps a watchful eye on proceedings in the dual roles of the Muse and Nicklausse. She makes a spectacular entrance in the opening scene as the Muse but is less engaging striding about the stage as Nicklausse.
Andrew Collis, David Thelander and Elizabeth Campbell are all well-cast in their roles and give creditable performances. The chorus was also superb, bringing life and warmth to their various scenes.
Director Stuart Maunder and conductor Stuart Northey are the unseen hands that made this production something really rather special. If you’ve ever wondered why opera tickets are so expensive, treat yourself to The Tales of Hoffmann – it’s easy to see what you’re paying for!
– Adelaide Festival Theatre, July 4, 7, 9, 11
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