Les Contes d'Hoffmann
- Episode aired Jan 31, 2018
- 2h 36m
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Monte-Carlo Offenbach
'Les Contes D'Hoffmann' may not quite be one of my favourite operas of all-time, but it has Offenbach's magnificent music-especially Antonia's "Elle a Fui", Dappertutto's "Scintille Diamont", Olympia's Doll Song "Les Oiseaux Dans Le Chamille" and the Barcarolle "Belle Nuit"- interesting characters especially Nicklausse and the four villains and a very intriguing story structure. So it is certainly a more than worthwhile opera if not one of my favourites.
The available productions of 'Les Contes D'Hoffmann', and the competition is neither a large or small one, are variable (though none terrible), with the 1951 Pressburger film and the 1981 Covent Garden production faring best. Both of which wonderful and good examples of what opera productions are all about. None of the available productions disgrace 'Les Contes D'Hoffmann' as such actually, but a few productions are less visually appealing and not as tasteful or engaging than others. This 2018 Monte-Carlo production is somewhere in the middle, meaning solidly done, especially musically, but with room for improvements if a few things were done a little better.
Visually the production is not unappealing, and atmosphere and sumptuousness can be seen. Even if it is not exactly elaborate, not that it needed to be, or imaginative. The lighting and expressionistic shadows are especially striking. The staging is tasteful and generally compelling, it makes sense and nothing is at odds with the libretto, with the story not being done in a way that's simplistic or over-crowded or becomes too cluttered. There was though room though for more imagination and more risks, not much is wrong here but not enough is special. The prologue espeically felt rather static and drags somewhat.
Musically, there is a lot to admire. The orchestra play with quite ravishing tone and also with much energy and sensitivity. The woodwind section are especially good and provides some dreamlike moments. The conducting is brisk, but lets the more intricate parts of the score like the "Belle Nuit" breathe and showpieces like the Doll Song flourish. The chorus sing beautifully and seem engaged dramatically, whether it was scenes like in the tavern or at the carnival. Always interesting and engaging if not always individual.
Juan Diego Florez was one of my main reason for seeing the production in the first place, being someone who likes him and his voice very much. He sings with ringing top notes, silken legato, idiomatic command of the language and is commited dramatically, surprisingly so having been worried the role would be too heavy for him with it being different from his usual Bel Canto roles. Just that Hoffmann is a complex one and that could have been brought out more in a somewhat one-dimensional interpretation. It is always brave taking on just one of the four soprano roles, taking all four of them on is a Herculean task and near-unheard of but Olga Peretyatko brings out all the contrasting personalities with aplomb, whether seductive, spontaneous, charming, poignant or spontaneous. She is partiuclarly good as Antonia where she is very moving, though for my tastes the role of Olympia was a bit high for her.
Nicolas Courjal fares strongly in all the villain roles, particularly as the nightmarish Dr Miracle. He is suitably sinister, without being hammy or one-note, and his voice is sonorous without being unsteady. There are more interesting Nicklausses than Sophie Marilley, ones more nuanced and complex, but Marilley does inhabit the character that ties the opera together and sings warmly. The support is good, interesting to see Paata Burchuladze again after ages of not seeing him.
Summarising, solid production. 7/10 Bethany Cox
The available productions of 'Les Contes D'Hoffmann', and the competition is neither a large or small one, are variable (though none terrible), with the 1951 Pressburger film and the 1981 Covent Garden production faring best. Both of which wonderful and good examples of what opera productions are all about. None of the available productions disgrace 'Les Contes D'Hoffmann' as such actually, but a few productions are less visually appealing and not as tasteful or engaging than others. This 2018 Monte-Carlo production is somewhere in the middle, meaning solidly done, especially musically, but with room for improvements if a few things were done a little better.
Visually the production is not unappealing, and atmosphere and sumptuousness can be seen. Even if it is not exactly elaborate, not that it needed to be, or imaginative. The lighting and expressionistic shadows are especially striking. The staging is tasteful and generally compelling, it makes sense and nothing is at odds with the libretto, with the story not being done in a way that's simplistic or over-crowded or becomes too cluttered. There was though room though for more imagination and more risks, not much is wrong here but not enough is special. The prologue espeically felt rather static and drags somewhat.
Musically, there is a lot to admire. The orchestra play with quite ravishing tone and also with much energy and sensitivity. The woodwind section are especially good and provides some dreamlike moments. The conducting is brisk, but lets the more intricate parts of the score like the "Belle Nuit" breathe and showpieces like the Doll Song flourish. The chorus sing beautifully and seem engaged dramatically, whether it was scenes like in the tavern or at the carnival. Always interesting and engaging if not always individual.
Juan Diego Florez was one of my main reason for seeing the production in the first place, being someone who likes him and his voice very much. He sings with ringing top notes, silken legato, idiomatic command of the language and is commited dramatically, surprisingly so having been worried the role would be too heavy for him with it being different from his usual Bel Canto roles. Just that Hoffmann is a complex one and that could have been brought out more in a somewhat one-dimensional interpretation. It is always brave taking on just one of the four soprano roles, taking all four of them on is a Herculean task and near-unheard of but Olga Peretyatko brings out all the contrasting personalities with aplomb, whether seductive, spontaneous, charming, poignant or spontaneous. She is partiuclarly good as Antonia where she is very moving, though for my tastes the role of Olympia was a bit high for her.
Nicolas Courjal fares strongly in all the villain roles, particularly as the nightmarish Dr Miracle. He is suitably sinister, without being hammy or one-note, and his voice is sonorous without being unsteady. There are more interesting Nicklausses than Sophie Marilley, ones more nuanced and complex, but Marilley does inhabit the character that ties the opera together and sings warmly. The support is good, interesting to see Paata Burchuladze again after ages of not seeing him.
Summarising, solid production. 7/10 Bethany Cox
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- TheLittleSongbird
- Jan 4, 2019
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- Opéra de Monte-Carlo, Monaco(opera house)
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