Offenbach had a premonition that, like one of Hoffmann’s three loves, Antonia, he would die before finishing the score. Indeed, three months before The Tales of Hoffmann‘s first performance, the composer passed away, making this opera his final testament, as critics put it.
A darkly fantastical work on the search for absolute love and the feminine ideal, it immediately became a masterpiece of French romanticism. Damiano Michieletto’s new take on the classic proves that Offenbach’s existential conundrum remains relevant even in the modern world.
Visually stunning and emotionally charged
The 48-year-old Italian provocateur has been prominent on European stages for two decades, known for contemporary conceptions that occasionally cause controversy. His version of The Tales of Hoffmann at the Royal Opera House is a visual feast, with vibrant, neon paillettes and whimsical set design by Paolo Fantin that would make Es Devlin jealous.
The space effortlessly (at least for the spectators) transforms from Luther’s tavern to a 1950s classroom, then to a pink hospital, and finally a Venetian carnival party. Infinity mirrors, smoke and fire, a gigantic eyeball, numbers falling from the ceiling, young ballet dancers, and a stilt walker all play their parts on stage.
The power of memory and regret
Realistic and mystical characters mix together, and the line between reality and dream is so blurred that those familiar with the original plot struggle to tell the difference.
When Hoffmann’s first love, Olympia, writes on the blackboard, the numbers appear in sync with her song. Hoffmann is conned into believing her to be a real woman, not just a mechanical doll.
Michieletto’s Olympia, Russian soprano Olga Pudova, makes an impressive Royal Opera debut, earning the biggest ovation of the opening night. Her machine-like top notes of “Les oiseaux dans la charmille,” accompanied by surreal robotic movements, stole the first act.
Twists in the tales
The second act moves from outward action to some fevered dream. Here presents the biggest twist of the production: the reinvention of Antonia’s tale from that of an ailing singer whose mother was an operatic star to that of a crippled dancer whose mother was a ballerina. It’s heartbreaking watching the fragile, febrile Ermonela Jaho singing in a wheelchair or collapsing on her crutches. Right next to her deathbed is the family ballet studio with huge windows overlooking the distant lights of the city.
Dr. Miracle, undoubtedly the most sinister of all the villains in the show, deliberately misguides a terminally ill young woman in denial of her fate. This character is haughty, cruel, and disdainful, so when we see him smashing a white cello at the end of the act, it’s obvious that this is not merely a musical instrument but Hoffmann’s broken heart after losing Antonia.
Paradox of life
Marina Costa-Jackson dazzles as the sensuous, erotic Giulietta, the Venetian courtesan in cahoots with the devil. She brings a riveting and dynamic presence to the stage. Selfish, fleeting, and irresistibly attractive, equipped with all the attributes of a femme fatale, this version of Giulietta will steal not only your shadow but your soul.
In the distant days when this production was new, other roles were cast with multiple singers. This time, Alex Esposito plays all four of Hoffmann’s arch-rivals. His exceptional bass-baritone brings a commanding and demonic stage presence to his villainous Lindorf, Coppélius, Dr. Miracle, and Dappertutto. There will be another twist involving Esposito, but we prefer not to spoil the surprise.
Hoffmann’s poetic universe
Equally strong was Juan Diego Flórez in the title role. He sang tirelessly and pleasingly, capturing the hero’s various transformations between embittered old man, young boy, ardent swain, and desperate lover. He can’t catch an amorous break but keeps fighting the demons till the end.
There is excellent support from Julie Boulianne and Christine Rice as Nicklausse and The Muse, respectively. Boulianne’s prolific mezzo-soprano brings a merry warmth to Hoffmann’s parrot-wielding friend, while the Muse of Poetry is a green fairy who spreads glitter before every act and elevates the entire production. Thanks to their help, Hoffmann, deeply scathed by love, gets a bittersweet payoff in inspiration to write. Despite all the hardships and evil forces, he rouses himself to life once more.
The Royal Opera House’s audience was left riveted as the curtain came to a close. Revisiting Offenbach’s mystique world is always a rather emotional journey, but Damiano Michieletto’s version leaves the spectators with hope that even disillusionment in love can be cured by the power of art.
Tales of Hoffmann runs at the Royal Opera House, Covent Garden, until December 1. Tickets and more information can be found here.
Image credits: © Tales of Hoffmann, Royal Opera House
