The Tales of Hoffmann | opera by Offenbach | Britannica.com The Tales of Hoffmann Alternative Title: “Les Contes d’Hoffmann” Related Topics Brief excerpt from the barcarole “ Belle nuit, ô nuit d’amour, ” also … Belle nuit, ô nuit d’amour, ” also called … The Tales of Hoffmann, French Les Contes d’Hoffmann, opera by German-born French composer Jacques Offenbach , with a French libretto by Michel Carré and Jules Barbier, the latter of whom was a coauthor of the play of the same name, from which the opera was derived. The opera premiered in Paris on February 10, 1881. It was the last and easily the most serious of the many Offenbach operas. Its premiere came posthumously. Left unfinished at Offenbach’s death, the work was completed by the composer’s colleagues. The opera is perhaps best known for its barcarolle “ Belle nuit, ô nuit d’amour, ” originally a duet for soprano and mezzo-soprano , though often heard in instrumental transcriptions.

Background and context Like the play, the opera is based on three of the psychologically complicated and fantastic stories of the German Romantic author and composer E.T.A. Hoffmann . Those stories are “ Der Sandmann Die Geschichte vom verlorenen Spiegelbilde ” (“ The Story of the Lost Reflection ”). The opera was intended for the 1877–78 season at Paris’s Théâtre de la Gaîté-Lyrique, though Offenbach missed the deadline by a large margin. When he died in 1880, he had not yet finished its last acts. Determined to bring the work to the stage, the theatre’s managers brought in composer Ernest Guiraud to finish the opera in time for its long-delayed premiere. Further revisions followed. Jacques Offenbach. © Photos.com/Jupiterimages The Tales of Hoffmann has no “official” version. Among the points of debate among music historians are Offenbach’s intentions regarding sung recitatives versus spoken dialogue . Even the order of the opera’s acts has been varied. The opera opens and closes with scenes of Hoffmann’s obsession with Stella, an opera singer. In between are visions of his passions for three other women.

Offenbach’s original plan was that those three acts would serve as a kind of spiritual journey from youthful infatuation (the Olympia act) through mature love (the Antonia act) to the indulgences of an idle wastrel (the Giulietta act). In contemporary performance, however, the second and third acts are sometimes switched. Further, some companies label the Prologue as Act I and renumber the succeeding acts accordingly. The structure shown in the synopsis below is one of several variations. Similar Topics Symphony No. 5 in C Minor, Op. 67 Given the debate, not only opera directors but also conductors and musicologists have taken on the task of reimagining Hoffmann. Numerous alternate versions exist, each with its own advocates. One particularly notable version was crafted by American musicologist Michael Kaye, who, in studying Offenbach’s original drafts, restored music for the muse Nicklausse and expanded the Giulietta act, increasing its dramatic impact. For musicological and theatrical reasons, those and other changes that Kaye suggests attracted a strong following, and it may yet become the standard version of Hoffmann. Also problematic is the number of singers required for the principal roles.

In each act, the leading tenor is the character of Hoffmann. However, the principal baritone is named Lindorf, Coppélius, Dr. Miracle, or Dapertutto, depending on the scene at hand. The featured soprano may take the role of each of Hoffmann’s loves—Olympia, Antonia, Giulietta, and Stella—in turn. Evidence reveals that Offenbach intended one soprano to perform all the roles and one baritone as well, so as to clarify the notion that those different characters are different aspects of a single personality. Baritones have not protested, as their four roles resemble each other in music style. The four soprano roles, however, make quite different demands upon the voice—from light coloratura to intense drama—so it requires an exceptional soprano to take on all roles.

Councillor Lindorf ( bass or baritone ) Andrès, Stella’s servant ( tenor ) Luther, a tavern-keeper (bass or baritone) Nathanaël, a student (tenor) Herrmann, a student (bass or baritone) Hoffmann, a poet (tenor) Coppélius, an evil scientist (bass or baritone) Olympia, a life-sized doll ( soprano ) Giulietta, a Venetian courtesan (soprano) Schlémil, her lover (bass or baritone) Pittichinaccio, a dwarf (tenor) Dapertutto, an evil magician (bass or baritone) Antonia, a young singer (soprano) Crespel, her father (bass or baritone) Frantz, his servant (tenor) Dr. Miracle, a charlatan (bass or baritone) Voice of Antonia’s Mother (soprano or mezzo-soprano) Stella, a diva (soprano) Party guests, servants, dancers, entertainers Setting and story summary The Tales of Hoffmann is set in Germany and Italy in the early 19th century.

Prologue Prismatic Playlist Volume 1 Luther’s Tavern, Nuremberg . The Spirits of Wine and Beer begin their revels. The Muse of the poet Hoffmann declares that Hoffmann must choose between her and his love for Stella, an opera singer. The Muse will disguise herself as Nicklausse, Hoffmann’s friend, to watch him. Councillor Lindorf appears and gives Andrès, Stella’s servant, a bribe to steal a note from Stella to Hoffmann that contains her dressing room key. Students crowd into the tavern, along with Nicklausse and Hoffmann, who is moody. The students encourage him to drink and sing them a song. He regales them with the ballad of the dwarf Kleinzach, but he is soon distracted by memories of past loves. Lindorf and Hoffmann insult each other, and Hoffmann is left with a sense of doom. When the students rib Hoffmann about his passion for Stella, he begins to tell them the story of his three great loves. Act I (the Olympia act) Spalanzani’s house. The inventor Spalanzani is preparing for a party.

He admires what appears to be a girl behind a curtain in his parlour—but she is actually a life-sized mechanical doll. He hopes that this invention will help him recoup his investment losses in the Élias bank. He fears, however, that his rival Coppélius will try to extort money from him by claiming to have some rights to the doll. Hoffmann arrives, and Spalanzani sings the praises of his “daughter” Olympia. Spalanzani leaves the room, and Hoffmann finds Olympia, whom he has seen briefly before, apparently asleep. He is already deeply in love with her. Nicklausse appears and teasingly sings him a song about a living doll. Coppélius arrives and sells Hoffmann a pair of magic eyeglasses that will allow Hoffmann to see into a person’s soul. The eyeglasses make Olympia appear completely human to Hoffmann. Spalanzani and Coppélius argue over their respective contributions to the invention of Olympia, and Spalanzani eventually gives Coppélius a check (drawn on the failed bank) to split the presumed profits. The other guests arrive, and Spalanzani introduces Olympia. She performs a brilliant aria .

Although she has to be rewound several times, Hoffmann remains infatuated. When he touches her, she whirls out of the room. Nicklausse tries to tell him that she is not human, but Hoffmann will not listen. Coppélius returns, enraged that Spalanzani’s check has bounced. A waltz begins, and Hoffmann and Olympia dance increasingly faster until Hoffmann falls and breaks the magic eyeglasses. Coppélius takes his vengeance on Spalanzani by smashing Olympia. Hoffmann, horrified, must at last accept that Olympia was not human. Act II (the Giulietta act) Connect with Britannica Facebook Twitter YouTube Instagram Pinterest Giulietta’s palazzo on the Grand Canal , Venice . Nicklausse and the courtesan Giulietta sing a romantic barcarolle . Hoffmann then sings a cynical ditty about carnal pleasures. Giulietta’s jealous lover Schlémil watches Hoffmann resentfully. Nicklausse warns Hoffmann not to fall in love with Giulietta. Hoffmann replies that if he should fall in love with her, the devil can take his soul. The evil magician Dapertutto overhears this.

He bribes Giulietta with a diamond to rob Hoffmann of his reflection by seduction, in the same way that she has already stolen Schlémil’s shadow for Dapertutto. Giulietta proceeds to seduce Hoffmann, who falls in love immediately and agrees to give her his reflection. Schlémil interrupts them and accuses Giulietta of infidelity. Dapertutto remarks on how pale Hoffmann is. Hoffmann looks in a mirror and is horrified to find that he has no reflection. Still ensnared by his passion for Giulietta, he demands that Schlémil give him the key to Giulietta’s room. Schlémil refuses. Dapertutto gives Hoffmann a sword with which to fight his rival in a duel. Schlémil is killed. Hoffmann rushes off to find Giulietta but sees her sailing away in a gondola with her new lover, the dwarf Pittichinaccio. Nicklausse drags Hoffmann away. Act III (the Antonia act) Britannica Lists & Quizzes Editor Picks: Exploring 10 Types of Basketball Movies Crespel’s house, Munich .

Crespel’s daughter Antonia, accompanying herself on the harpsichord , sings a sad love song. Crespel urges her to give up singing, because it will make her ill, but Antonia is inspired by the memory of her late mother’s beautiful voice and cannot help but sing. Crespel blames Hoffmann for Antonia’s desire to sing; Crespel had brought her to Munich expressly to get her away from the poet. As he leaves the house, Crespel orders Frantz, his partially deaf servant, not to let anyone in the house during his absence. Alone, Frantz tries, and fails, to sing and dance. Hoffmann arrives with Nicklausse, who urges the poet to concentrate solely on poetry. But Hoffmann ignores Nicklausse and declares his love to Antonia. They sing a duet until Antonia becomes faint. When Crespel arrives, Antonia flees the room, and Hoffmann hides. Crespel is dismayed by the arrival of the ominous Dr. Miracle, who had treated Crespel’s wife before she died and who Crespel believes will kill his daughter as well. Hoffmann eavesdrops on their conversation.

Even though Antonia is not in the room, the doctor declares that he can perceive that her pulse is irregular. He orders her to sing, and her voice is heard from somewhere in the house. Although Dr. Miracle claims that he can save the girl, Crespel throws him out. Antonia returns, and Hoffmann begs her to give up singing. Reluctantly she promises to do so. Hoffmann departs, telling her that he will come back the next day. Then Dr. Miracle reappears and tries to beguile the girl with visions of becoming a famous singer. Antonia calls upon her mother’s portrait to help her. When the doctor magically brings the portrait to life, Antonia’s mother urges Antonia to sing with her. With Dr. Miracle frenetically accompanying her on the violin , Antonia sings until she falls to the ground. She dies in her grieving father’s arms. Hoffmann arrives. Crespel threatens to kill him, but Nicklausse intercedes. When Hoffmann calls for a doctor, Dr. Miracle reappears and pronounces Antonia dead. Crespel and Hoffmann despairingly cry out to her. Epilogue Opium Wars Luther’s Tavern.

Back at Luther’s Tavern, applause for Stella’s performance is heard in the distance, and Lindorf swears to make her his. Nicklausse realizes that each woman in the three Hoffmann stories—Olympia the doll, Giulietta the courtesan, and Antonia the singer—represents a different side of Stella. He proposes a toast to Stella, which at first enrages Hoffmann, but the poet decides just to drink himself into oblivion. As he does so, the Muse magically reappears, and he declares his love for her. He falls into a drunken stupor just as Stella enters. She goes off with Lindorf, and the students continue their revels. But the Muse finally has Hoffmann to herself. Offenbach's Triple Bill: 'The Tales of Hoffmann' Offenbach's Triple Bill: 'The Tales of Hoffmann' Overview Audio Selections The Story Who's Who In ACT ONE, Hoffmann is drinking in Luther's tavern, near the opera house in Nuremberg. As always, he's accompanied by his muse, who wants to cure the poet of his unhappy love for Stella, a beautiful singer. The muse then takes the identity of the poet's student friend Nicklausse.

We also meet a counselor called Lindorf -- Hoffmann's rival for Stella's love. The crowd at the tavern knows Hoffmann's skill at storytelling, and he entertains them with the tale of Kleinzach, a legendary dwarf. But Hoffmann is preoccupied by romance, and his mind keeps wandering into thoughts of beautiful women he has loved. The crowd decides to humor him, and wants to hear all of his love stories. Hoffmann agrees, and everyone settles down to listen. The first story is told in ACT TWO. Hoffmann has fallen for Olympia, the daughter of an inventor named Spalanzani. But this "daughter" is actually one of Spalanzani's inventions: a mechanical doll. Spalanzani is expecting a house full of guests, and plans to introduce his new invention to the public. But he's worried about one guest in particular, a gadget-maker named Coppelius who provided Olympia's eyes. Spalanzani is afraid Coppelius will want a percentage of the action. He decides to buy him out, and writes Coppelius a check. When all the guests have assembled, Spalanzani trots out Olympia, winds her up, and puts her through her paces.

The doll can even sing, and comes up with a spectacular coloratura aria -- but she slows down every now and then, and has to be rewound. Hoffmann is so in love with her that he doesn't notice. But the jig is up when Coppelius returns. Spalanzani's check has bounced, and Coppelius gets even by destroying Olympia. At first, Hoffmann is horrified, watching as the woman he loves is torn limb from limb. Then he realizes what's really happening, and the guests all mock him as the act ends. In ACT THREE, Hoffmann is love with Antonia, a beautiful young woman suffering from a serious illness. She lives with her father, Crespel, and their house is filled with musical instruments, which Crespel makes himself. There's a place of honor reserved for a painting of Crespel's dead wife, Antonia's mother. Antonia is at the piano and begins to sing a sad song, but Crespel rushes in to stop her. Though Antonia loves singing, the exertion is dangerous for her, and threatens her life. Crespel leaves again, and against his wishes, Hoffmann and Nicklausse come to pay Antonia a visit.

She and Hoffmann sing together, declaring their love. When Crespel returns, Antonia runs to her room. Hoffmann hides, and overhears a heated conversation between Crespel and Dr. Miracle, who has come to treat Antonia. The doctor also treated Antonia's mother, and Crespel thinks Miracle was responsible for her death. When the two men leave, Hoffman goes to Antonia and persuades her to stop singing. But when Hoffmann has gone, Miracle returns. He calls for Antonia, and somehow conjures the voice of her mother, which seems to emanate from the dead woman's portrait. Taking up one of Crespel's violins, Miracle urges Antonia to sing along. She does, but the stress is too much for her, and she collapses. Hoffmann and Nicklausse rush back into the house just as Dr. Miracle pronounces Antonia dead. ACT FOUR takes place in Venice, and begins with Hoffmann on the balcony of a palace, overlooking the Grand Canal. Below, Nicklausse and the glamorous courtesan Giulietta are floating in a gondola.

Hoffmann listens as the two sing a gentle barcarolle, the opera's most famous melody. Inside, there's a lively party going on, and Hoffmann encounters Giulietta. He's been falling in love with her, despite warnings from Nicklausse. Giulietta already has a lover, a man called Schlemil, but that seems to make her even more attractive to Hoffmann. Before long, we meet this story's villain, a magician named Dapertutto. He makes Giulietta a tempting offer. Dapertutto promises her a diamond ring if she'll bring him Hoffmann's "other self" -- that is, if she can steal his reflection. Giulietta agrees, and goes into action. She takes Hoffmann into another room. He finds her irresistible, and the two sing a rapturous duet. Giuletta asks Hoffmann for his reflection, as a keepsake. He agrees, and immediately discovers that he can no longer see himself in the mirror. Schlemil then bursts in, surprising the lovers. Giuletta runs off to hide in her private room. Schlemil challenges Hoffmann to a duel and is killed.

Hoffmann finds the key to Giulietta's room on a chain around Schlemil's neck. But when he opens her door, he finds her in a passionate embrace with a servant, Pitichinaccio. Dapertutto breaks into a sinister laugh, as Nicklausse drags Hoffmann away. ACT FIVE is a brief epilogue. We're back in Nuremberg, at Luther's tavern, and Hoffmann has finished his sad stories. He orders more wine, to dampen his memories. Then Stella appears, fresh from a triumphant night at the opera, and approaches Hoffmann. But when he looks at her, he's reminded of the three lovers he lost in his stories, and he turns her away. Unperturbed, Stella leaves with Hoffmann's rival, Lindorf. Nicklausse stays with Hoffmann, and again becomes the poet's muse -- urging Hoffmann to go back to his writing, and saying that sorrow will make his poetry all the wiser.

Social sharing Les Contes d'Hoffmann Synopsis - The Story of Offenbach's Opera, Les Contes d'Hoffmann Les Contes d'Hoffmann Synopsis Premiered: February 10, 1881 - Opéra-Comique, Paris Other Popular Opera Synopses: Setting of Les Contes d'Hoffmann: Offenbach's Les Contes d'Hoffman takes place in 19th century Nuremberg. The Story of Les Contes d'Hoffmann Les Contes d'Hoffmann, Prologue Within an empty tavern next door to a sold out opera theater, Hoffmann's (a poet) Muse reveals her intentions to lure him into giving up all other love in order to devote himself fully to her. She is poetry incarnate, but disguises herself as Hoffmann's friend, Nicklausse. She knows that this evening Hoffmann's fate will be determined by the choice he makes. In the theater next door, a performance of Mozart's Don Giovanni is taking place, with the soprano lead sung by Stella. With Hoffmann in attendance, Stella has written a letter to him asking him to visit her in her dressing room after the performance.

continue reading below our video What Do Movie Ratings Mean? She's even included the room key. However, the letter was intercepted by Hoffmann's nemesis, Councillor Lindorf, who successfully bribed Stella's servant and assistant. Lindorf begins to craft a plan to take Hoffmann's place by Stella's side. Moment's later, the tavern begins filling with students and theater patrons. Hoffmann and Nicklausse arrive, though Hoffmann is clearly troubled, the students urge him to drink and tell stories. Hoffmann entertains them with a story of a dwarf named Kleinzach. Lindorf interrupts and begins hurling insults at Hoffmann. Nicklausse interjects, but then the students begin teasing Hoffmann about his crush on Stella. Hoffmann responds by telling three stories of his past great loves. Les Contes d'Hoffmann, ACT 1 Spalanzani, an inventor has created his greatest invention yet, a mechanical doll named Olympia. Since the inventor has lost a great sum of money, Olympia is his only chance of regaining his wealth.

Hoffmann is the first to arrive to Spalanzani's party, and upon seeing the beautiful mechanical doll, Hoffmann instantly falls in love with her. He is under the impression she is a real person. Nicklausse tries to warn Hoffmann, but his concern is unheeded. Coppelius, a mad scientist (and this act's nemesis), sells Hoffmann a magic pair of spectacles that allows Hoffmann to see the doll as a real human being. Coppelius and Spalanzani argue with one another over the doll's profits, and Coppelius finally agrees to sell his portion of ownership to Spalanzani for $500. Spalanzani writes him a check and Coppelius leaves to cash in the check. During the party, Olympia performs the opera's most famous aria, " Les oiseaux... " which captivates the audience and Hoffmann. Despite the doll's need for rewinding her mechanisms throughout the performance, Hoffmann is still oblivious to the truth. After the guests venture to the dinning room, Hoffmann is left alone with Olympia and he begins to tell her his heart and soul. Thinking her feelings for him are mutual, he leans in to kiss her.

This causes Olympia to go haywire and she spins out of the room. Nicklausse warns Hoffmann yet again, but Hoffmann pays no attention to him. Coppelius has returned from the bank, furious that the check bounced. Waiting for everyone to return from the dining room to attend the evening's waltz, Coppelius waits in the background. Hoffmann joins Olympia in the waltz. As the two dance and whirl, Hoffmann falls and breaks his glasses. Seizing the opportunity, Coppelius unleashes his fury on the doll and begins tearing her apart. Hoffmann, finally aware of the truth, is mocked for falling in love with a doll. Les Contes d'Hoffmann, ACT 2 Hoffmann has fallen in love with a beautiful young singer, Antonia. Her father, Crespel, has taken her away to another city in order to separate her from Hoffmann. Antonia has a rare heart condition, and every time she sings, it makes her heart weak. When her father leaves, he commands his servant (who is hard of hearing) not to let anyone in the house. After he leaves, the servant entertains Antonia.

After some time passes, Hoffmann and Nicklausse arrive and are welcomed into the home. Nicklausse tries to persuade Hoffmann to give up love and devote his time to art, but he is too smitten with Antonia. She is happy to see Hoffmann, but tells him her father has forbidden her to sing. After several requests, she finally gives in to him and the two sing a duet, which nearly causes her to pass out. When Crespel returns, Hoffmann and Nicklausse hide. Dr. Miracle shows up to Crespel's dismay. Dr. Miracle was doctor to Crespel's wife when she died, and he forces Crespel to let him treat his daughter. Dr. Miracle consults Antonia and tells her that if she ever sings again, she will die. Overhearing the diagnosis, Hoffmann begs Antonia to stop singing once the doctor leaves. Reluctantly, she does. When the doctor tries to tell Crespel that Antonia must take his medicine, Crespel kicks him out of the house. Crespel believes it was Miracle's medicine that killed his wife.

Hoffmann leaves with Nicklausse after assuring Antonia he will come back the next day. After they leave, Dr. Miracle suddenly appears, taunting Antonia with fame and fortune. He says she can have the same, if not more, success as her mother who was also a singer. She tries to stay steadfast in her attempts to remain quiet and turns to a portrait of her mother asking for strength. Dr. Miracle conjures a spirit into the painting, and claiming that her mother is speaking through him, he tells her that her mother approves of her singing. As Dr. Miracle plays on his violin, Antonia begins singing. Fervently, the two make music at an ever increasing speed. In a matter of seconds, Antonia lets out a deep cry and collapses to the floor. Hoffmann quickly rushes in, only to find Antonia dead on the floor. Les Contes d'Hoffmann, ACT 3 In Venice, Hoffmann and Nicklausse are visiting the palace. Nicklausse and a beautiful courtesan, Giulietta, sing an old folk song, before being interrupted by Hoffmann. Nicklausse warns Hoffmann not to fall in love with her, but he does anyway.

Giulietta does not love Hoffmann; she is only trying to win his affections in order to steal his reflection. Earlier, she had made a deal with Dappertutto in order to get an exquisite diamond. Prior to meeting Hoffmann, she had stolen the shadow of her previous lover, Schlemil. Schlemil is still in love with Giulietta and becomes jealous seeing her with Hoffmann. At the dinner party, Hoffmann realizes his reflection is missing when he passes by a mirror. Still infatuated with Giulietta, Hoffmann doesn't think twice about it. He confronts Schlemil and asks for the key to her room. Schlemil adamantly refuses and the two challenge each other in a duel. Hoffmann overpowers him and Schlemil is killed. He takes the key from Schlemil's pocket and rushes to Giulietta's room, but finds it abandoned. He looks out of her window and sees her walking out of the palace in the arms of yet another man. Les Contes d'Hoffmann, Epilogue After Hoffmann has told his stories, and becoming completely drunk, he confesses that he will never love again.

He explains that the women in his stories represent three different sides of Stella. Nicklausse shows her true form, and tells Hoffmann that he should love her and devote his life to poetry instead. He agrees wholeheartedly. When Stella comes to the tavern, having grown tired of waiting for him in her dressing room, she approaches Hoffmann. He tells her that he does not love her. The muse tells Stella that Lindorf has been waiting for her the whole time, so Stella leaves the tavern with him instead. 14 November 2013 (Thu), 20:01 - Jacques Offenbach "Les contes d`Hoffmann" (opera fantastique in five acts) (Opera) - World famous Mariinsky (Kirov) Ballet and Opera - established 1783 - BalletAndOpera.com Performed in French with synchronised Russian supertitles Premiere of this production: 26 December 2011 , Mariinsky Theatre, St Petersburg, Russia This opera, which has a legendary reputation as well as existing in a large number of versions of the score, is returning to the Mariinsky Theatre eleven years since the last production.

The new production is being put together by a team that has received theatre prizes in St Petersburg and throughout Russia on numerous occasions for its previous works at the Mariinsky Theatre. Vasily Barkhatov believes that “Les contes is the drama of a man who conjures up a dream, gives it a woman’s name and becomes lost in painful reveries. Hoffmann becomes transformed from an impressionable artist into the most ordinary of men – not free, it is true, to cross the border between his own imagination and reality. The protagonist, experiencing the drama of love and grasping the fact that he is no Jimmy Hendrix, so to speak, becomes a mid-ranking manager and begins to lose his hair.” The role of Hoffmann is being rehearsed by young tenor Sergei Semishkur, whose repertoire includes such French music as Hector Berlioz’ Les Troyens and Benvenuto Cellini, has already worked with Barkhatov on productions of Leoš Janacek’s Jenufa, Rodion Shchedrin’s Dead Souls and the aforementioned Benvenuto Cellini.

The female roles are being rehearsed by Marina Aleshonkova, Kira Loginova, Olga Pudova and Larisa Yudina as Olympia, Zhanna Dombrovskaya, Lyudmila Dudinova, Gelena Gaskarova, Anastasia Kalagina, Olga Trifonova and Oxana Shilova as Antonia and Zhanna Afanasieva, Irina Mataeva, Tatiana Pavlovskaya, Yekaterina Solovyova and Viktoria Yastrebova as Giulietta. The lead bass role is being rehearsed by Ildar Abdrazakov and the renowned Sergei Aleksashkin, who sang in the premiere of Marta Domingo’s production of Les contes in 2000. In the new production at the Mariinsky Theatre, as envisioned by the composer himself, the wicked Dr Miracle, Dapertutto, Coppelius and the experience-rich Lindorf – in Barkhatov’s version alter egos of the protagonist – will all be performed by one singer.

Important facts: • The new production is using the fullest version to date of the score of the opera Les contes d’Hoffmann produced for publication by Michel Carré and Jean-Christophe Keck (Offenbach died before he could complete the orchestration, which is why several versions of the opera exist). This version sees the revival of the original order of the acts (Olympia –Antonia –Giulietta) and dialogues take the place of recitatives and music more than audiences are generally accustomed to. • The libretto of Les contes d’Hoffmann was written using motifs from three of Hoffmann’s tales – Olympia was taken from the novella Der Sandmann, the sickly Antonia from the play Rath Krespel (part of the series Die Serapionsbrüder) and the story of Giulietta the courtesan and the evil sorcerer Dapertutto from the tale Das Verlorene Spiegelbild.

In Vasily Barkhatov and Zinovy Margolin’s stage version, the plot of the opera is interwoven with plotlines from François Truffaut’s La Femme d’à côté, Stanley Kubrick’s The Shining and Ron Howard’s A Beautiful Mind. • Les contes d’Hoffmann was first staged at the Mariinsky Theatre in 1899 in Russian and was directed by Osip Palechek with the dances being staged by Lev Ivanov, co-choreographer of Swan Lake. Marta Domingo staged the last production of Les contes d’Hoffmann at the theatre in 2000 using Michael Kaye’s version of the opera.

• Also working on the premiere are Mikhail Tatarnikov (conductor), Alexander Sivaev (lighting designer), Marina Mishuk (musical preparation), Andrei Petrenko (principal chorus master), Larisa Gabitova, Oxana Klevtsova, Tatiana Sinelnikova, Irina Trutko, Dmitry Yefimov and Marina Yevseyeva (accompanists), Pavel Petrenko and Leonid Teplyakov (chorus masters), Kristina Larina (assistant stage director) and Xenia Klimenko and Maria Levina (French language coaches).

• Among those rehearsing the premiere are Viktor Aleshkov and Sergei Semishkur as Hoffmann, a poet, Marina Aleshonkova, Kira Loginova, Olga Pudova and Larisa Yudina as Olympia, a doll, Zhanna Dombrovskaya, Lyudmila Dudinova, Gelena Gaskarova, Anastasia Kalagina, Olga Trifonova and Oxana Shilova as Antonia, Crespel’s daughter, Zhanna Afanasieva, Irina Mataeva, Tatiana Pavlovskaya, Yekaterina Solovyova and Viktoria Yastrebova as Giulietta, a courtesan, Maria Maksakova, Yulia Matochkina and Yekaterina Sergeyeva as Nicklausse, Hoffmann’s friend, Elena Vitman and Larisa Gogolevskaya as the Voice of Antonia’s Mother and Ildar Abdrazakov, Sergei Aleksashkin, Ilya Bannik and Andrei Serov as Lindorf, a city councillor, Coppélius, an optician, Dr Miracle and Dapertutto, a sorcerer.

Les Contes d'Hoffmann | Bayerische Staatsoper Bayerische Staatsoper Information Opéra fantastique in five acts Composer Jacques Offenbach · Libretto by Jules Barbier after the play by Jules Barbier and Michel Carré, edited by Michael Kaye and Jean-Christophe Keck In French with German surtitles Tuesday, 31. March 2015 07:00 pm – 10:25 pm Nationaltheater Duration est. 3 hours 25 minutes · Intervals between 1. Akt and 2. Akt (est. 08:10 pm - 08:40 pm ) between 2. Akt and 3. Akt (est. 09:25 pm - 09:40 pm ) Open ticket sales About this production The protagonist of the opera is E.T.A. Hoffmann, the prototype of the German romantic period artist: his life is an artwork, his lower depths, his doubts, his grand inspirations – his crises. And all of these are connected with: women.

Hoffmann in the opera tells of three types of woman in his tales, the “lifeless doll with a heart of ice”, the “virtuoso”, ill and destined to die, as well as the “shameless courtesan”. Jacques Offenbach’s opera fantastique, premièred in 1881, is based on the play of the same name by Jules Barbier and Michel Carré, who drew from the biographies and works of E.T.A. Hoffmann, Adelbert von Chamisso and Alfred de Musset to create their own artist’s drama. It is not a literature opera – the protagonists from different romantic tales are connected to one another by a fictitious Hoffmann – but rather more of a message to the writer, telling him to make art his matter of the heart, or perhaps even open up his heart with brutal frankness. Based on the edition by Michael Kaye and Jean-Christophe Keck, © Schott Music International The Story Act One Hoffmann, a poet, has not been able to write even a single sensible line since his affair with Stella, a prima donna, began.

Stella wants to make an assignation with him, but he hides from her. Due to his doubts about himself he resorts to alcohol and begins to drink. Nicklausse, his muse, tries his best to get him to write and offers what diversion he can: Lindorf, who has also been seen with Stella, three students by the names of Hermann, Wilhelm and Nathanael and a number of their drinking-mates. They all try to raise Hoffmann’s spirits with large amounts of alcohol and lusty songs. What they would really like, however, is to hear one of his exciting tales and Hoffmann does not disappoint them: he recites the poem about the ugly dwarf Kleinzack – but suddenly seems to fall into a reverie and rhapsodises about the features of his beloved. When his companions interrupt him and bring him back to reality he promises that he will tell them the catastrophic stories of the previous loves of his life. Act Two: Olympia Spalanzani has invented a doll which is deceptively life-like: Olympia.

He is now bankrupt and can no longer pay Coppélius, from whom he bought the eyes for the doll, what he owes him.He hopes to make a fortune with his supposed ‚daughter‘ and to this end has invited a number of guests to whom he wishes to present his invention. He is able to get rid of Coppélius by giving him a bond. Hoffmann, who is not at all interested in physics and technology, has fallen in love with Olympia. He has bought a pair of spectacles from Coppélius through which he sees the doll as a real person. Nicklausse has nothing but scorn for him. Hoffmann, however, finds the singing of the doll just as simple and charming as her shyness. Spalanzani’s guests are also quite charmed by her. Spalanzani even hopes that Hoffmann will marry his daughter, but at the same time is afraid that too much activity might endanger his creation. When Hoffmann begins to waltz wildly with Olympia they both work themselves ever further into a frenzy. Coppélius, on the other hand, seeks revenge. Spalanzani’s bond was not covered and so he gets control of the doll and destroys her.

Only now does Hoffmann realize that he has fallen in love with a piece of machinery. Act Three: Antonia Hoffmann very much wants to see the singer Antonia again, with whom he has fallen deeply in love. Antonia also longs to see her lover but her father, Crespel, keeps her completely hidden from the outside world. In addition, he has also had all her music locked away and made her promise never to sing again. What she does not know is that her mother, who was also a famous singer, died of a mysterious illness the symptoms of which her father has now discovered in her. He is afraid that singing could also doom her to die. However Antonia manages to steal the key for her music from the servant Frantz, who dabbles in the art of singing himself. Hoffmann also manages to outwit Frantz and gain entrance to Crespel’s house. Nicklausse, who is at least happy that Antonia is not a doll but a talented singer, urges Hoffmann to devote himself to his art. But nothing can stop Hoffmann: Antonia and he have at last found each other again.

When Crespel unexpectedly returns, Hoffmann just manages to hide but is thus forced to overhear the argument between Antonia’s father and Dr Miracle: Miracle offers to treat Antonia’s illness but Crespel holds him responsible for the death of his wife and bids him leave. Hoffmann is horrified and asks Antonia to promise him, too, that she will never sing again and then leaves. Antonia believes her lover has taken sides with her father. Uncertain and with a deep longing for her art she takes up the music and hears the voice of Miracle, who tempts her to give in completely to her desire to sing. When her mother’s voice also speaks to her there is nothing more to stop her. She sings and breaks down in mid song. Crespel and Hoffmann are not able to save her. She dies. Act Four: Giulietta Guilietta, a prostitute, has become a slave to the wealth of Dapertutto, who demands that she should obtain for him the reflections and souls of young men. Together with Schlémil and Pitichinaccio she is also very successful in this. Hoffmann, however, does not seem to be at all interested in her charms.

After all his dreadful experiences, wine and cards seem to him to be more attractive. Nicklausse warns Hoffmann that this behaviour will only create new problems. Dapertutto spurs Giulietta on to greater exertion with regard to Hoffmann’s soul by promising to give her a huge and valuable diamond. She immediately tries to capture Hoffmann’s affections by responding to his song. Hoffmann sits down to play cards with Schlémil and Pitichinaccio. At first he loses, but spurred on by Giulietta his luck changes. Schlémil is jealous of Giulietta’s affection for Hoffmann, who now declares his love for her, whereupon Pitichinaccio tries to get Nicklausse out of the way and prepares a drink mixed with poison. But Nicklausse does not feel like drinking. When Giulietta prepares to retire with Hoffmann, Schlémil attacks Hoffmann with a knife, but the latter is able to defend himself and in doing so kills Schlémil. Giulietta pretends she wants to protect him from further attacks. Hoffmann is meanwhile completely besotted by her so it is very easy for her to steal his reflection.

Dapertutto thinks that he has won. Giulietta receives the diamond, with which she becomes enraptured, and reaches for a glass to refresh herself – and drinks the poison which was intended for Nicklausse. She dies, to the horror of Pitichinaccio and Dapertutto. Nicklausse seizes the opportunity to free Hoffmann from his spell. Act Five The students and their friends are both enthralled and horrified by Hoffmann’s tales. One thing is clear to all of them: all three types of women are pesonified in one women-Stella. Hoffmann is too drunk to care. He collapses and Stella turns away from him in disgust. So he begins to commit his story to paper. Nicklausse the muse and all the other characters surround Hoffmann as if they were explaining to him what he has learned through his experiences: „Laugh at your pain! The Muse will ease your woes.

For love makes man great, but sorrow makes him greater still.“ Premiere of Jacques Offenbach's "Les Contes d´Hoffmann" on October 31, 2011 in the Nationaltheater The Tales of Hoffmann Reviews & Ratings - IMDb IMDb 36 out of 37 people found the following review useful: A magnificent filmic version of the Offenbach opera from London, England 8 February 1999 A magnificent spectacle. A truly filmic version of a classic opera. Often mentioned as a favourite movie and constant inspiration for young Martin Scorsese. With the audacity that Powell & Pressburger were famous for we are presented with a wonderful performance of a truly "composed" film. All the soundtrack was recorded by Sir Thomas Beecham and the Royal Philharmonic Orchestra and then the filming was all done on the open stage (it didn't need a sound stage) at Shepperton. With choreography by Sir Frederick Ashton and performances by ballet luminaries such as Moira Shearer, Ludmilla Tch&eacute;rina, Robert Helpmann, L&eacute;onide Massine and Sir Frederick Ashton himself.

Assisted by opera stars such as Robert Rounseville and Anne Ayars and the Sadler's Wells Chorus. All this backed by the designs of Hein Heckroth and the experienced team of technicians that worked regularly under the banner of The Archers leads to a treat to behold. The plot - from a 1951 (year of release) programme. The Prologue : The Opera House in Nurnberg (N&uuml;emburg). Hoffmann sits in the auditorium watching a performance of the Dragonfly ballet. He is in love with Stella, the prima ballerina, who seems the embodiment of all his past loves. In the interval Hoffmann goes to Luther's Tavern. Here young students greet him. He sings them the ballad of Kleinzack. But the sight of Stella has reopened old wounds. "Would YOU hear the three tales of my folly of love?" lie asks. The students gather round the punch bowl, with Hoffmann's companion, Nicklaus, who has accompanied him throughout his adventures, and his enemy Lindorf.

The Tale Of Olympia : As an inexperienced student in Paris, Hoffmann was tricked by two puppet-makers, Spalanzani and Coppelius, into falling in love with their latest creation, the doll Olympia. Spalanzani passes Olympia off as his daughter and hopes by this means to get some money from Hoffmann. At a ball given for her, Olympia sings the "Doll Song" and dances a ballet. Hoffmann is entranced. Only when Spalanzani and Coppelius fall out, and Coppelius destroys the doll in revenge does Hoffmann realise how he was fooled. The Tale Of Giulietta : As a young man of the world, he was enslaved by a beautiful Venetian courtesan, Giulietta. Acting under the influence of the magician Dapertutto, Giulietta captures his reflection and so gains possession of his soul. Hoffmann kills her former lover Schlemil in a duel, to get the key to her room. He hurries back to her, but finds she has left with Dapertutto. Mad with rage, he flings the key against her mirror. It cracks, and his reflection reappears. He has regained his soul.

The Tale Of Antonia : As a mature artist and poet, Hoffmann falls in love with Antonia. Her mother, a singer, has already died of consumption (Tuberculosis). Crespel, her father, through grief at his wife's death, is now the half-mad wreck of a formerly great conductor. Crespel keeps his daughter in seclusion on an island in the Greek Archipelago and forbids her to aggravate her own weakness by singing. He also forbids his deaf servant Franz to admit either Hoffmann or the quack Dr. Miracle who killed his wife. Franz misunderstands, and in turn shows them in. Hoffmann realises Antonia is ill, and she promises him not to sing again. Dr. Miracle persuades her it is her mother's wish she should disobey. She does so, and dies in his arms. The Epilogue : On the stage of the Opera House, it is the finale of the Stella Ballet. In the tavern Hoffmann's audience is spellbound. Hoffmann's tales are told and with the telling Hoffmann finds his true destiny as a poet. Stella appears at the door of the tavern and looks down at him.

But Lindorf, who has also understood the meaning of the Tales goes to meet her and together they pass out into the town. Was the above review useful to you? 31 out of 33 people found the following review useful: What a gorgeous film! from Phoenix, Arizona USA 1 June 2004 I saw this film when it first came out and was overwhelmed by the music (by Jacques Offenbach) and the gorgeous 3-strip Technicolor. I even bought the LP soundtrack album (twice). When the Criterion laserdisc version came out, I forked out beaucoup bucks for it -- and was not disappointed! I suspect this film was the first music video, for all the sound (singing and music) was pre-recorded, which gave it a more pure quality. Nearly all the on-camera players were ballet stars, who lip-synced singing by opera stars! It is an opera, after all, so perhaps it could be accused of being a bit stagey, but so what!! It is a pure delight, and I am now happy to report that Criterion has released the DVD! It has been restored and digitally remastered for a truly glorious presentation. Comments by Martin Scorcese only add to the release!

Was the above review useful to you? 29 out of 32 people found the following review useful: Breathtaking Total Theater. from United States 23 November 2005 Rational? I cannot be rational about this mad cinematic gem. I was spellbound as a child watching it over and over again on the Million Dollar Movie (on B&W TV, no less!) Like Martin Scorcese's mother, mine too would call from the kitchen (when I was sneaking yet another look) "Turn that off! You watched it yesterday and the day before. Now we've heard enough of that thing!" Run, do not walk, to purchase the newly released Criterion DVD. It is worth every penny. Never has the color been so lush and the detail so finally delineated. And I know, I have pursued (rare) showings of this film nearly all my 50 years. If you think you've seen Hoffman before, wait until you see this! Was the above review useful to you? 25 out of 25 people found the following review useful: Bravo, Tales of Hoffmann!

from Gulf Breeze, Florida 28 December 2004 What a splendid film is this combination of opera and ballet for those partial to this type of fare. The performance of Robert Helpmann in four roles is exceptional and dancer Leonid Massine makes a chilling villain as Schlemil in the utterly fantastic "Tale of Giuletta". Ludmilla Tcherina as Giuletta is an alluring sex-goddess and enslaver of men. I am totally absorbed whenever I watch this episode. Having said all this, I must also say that the "Tale of Antonia" is a severe letdown after the two preceding episodes. It is not just the film version that is bad -- it was actually a letdown the first time I saw the opera live at the old Metropolitan Opera 45 years ago. Actually, there have been suggestions that the "Antonia" episode be moved from last to first episode sequentially in the opera, however I doubt if this would make a significant improvement. If I am correct, the "Antonia" episode was completed by another composer, Offenbach having died before completing Tales of Hoffmann. Ahhh...that hauntingly beautiful "Barcarolle"....nothing can compare to it!!

And the film version is just icing on the cake. Was the above review useful to you? 20 out of 21 people found the following review useful: Different Aspects of Romance *** This review may contain spoilers *** Caution: Spoilers I first saw this as a 14-year-old in an art theater in San Antonio, Texas. I was impressed by what to me then was the complexity of the action, but the overall stories were explained by the theater manager over the speakers before each act started. The overall effect was stunning to a growing boy. I'd seen The Red Shoes, but this was the whole schmear -- opera, ballet, and movie effects all at once. It was not until much later that I understood the film to reflect the phases of a man's romantic perspective. The first tale was of a doll -- pure beauty. The second stage was purely sexual, with the action focusing on desire, up to and including a fight to the death to enter the woman's "private place" -- in this case, the boudoir. The final stage was the frailty of humanity, with Hoffmann urging the lovely Olympia to forego her great talent to save her life.

In all cases, Hoffmann remained unfulfilled -- even in the epilog. The presentation was excellent for its time. The "artsy" effect helped establish the film as being set in a world other than ours, which added to the effect. Some special effects were uninspired; others, very good. A high point was Hoffmann losing his reflection. Was the above review useful to you? 18 out of 18 people found the following review useful: I've never seen anything like it from Virginia, USA 4 May 2007 "The Tales of Hoffmann" (1951) - a beautifully photographed film version of Jacques Offenbach's opera, his final masterpiece is a magic (and there is no other word to describe it) blend of Adventure / Romance / Fantasy / with an endless stream of gorgeous melodies, seductive and tender love scenes, bizarre characters - comic, romantic or villainous, and tragic climaxes. The film was a follow-up to "The Red Shoes" (1948) a fantasy/musical/romance/drama set in the world of ballet with the same directors, stars, and production designers.

In "The Tales of Hoffmann", Robert Rounsevill stars as E.T.A. (Ernst Theodore Amadeus) Hoffmann, the poet and writer who tells three stories of his great but unhappy loves all ending tragically thanks to the meddling of his enemy, a supernatural villain (Robert Helpmann as quadruple evil, Lindorf, Coppelius, Dapertutto and Dr Miracle). Objects of Hoffmann's love and admiration include Olympia the wind-up doll (Moira Shearer who also plays Stella the dancer, the fourth and yet another Hoffmann's misadventure), Giulietta, the Venetian courtesan who sails away after trying to capture Hoffmann's soul (Ludmilla Tchérina -absolutely brilliant as the siren and the seductress who elegantly walks over the dead bodies, literally), and Antonia the beautiful opera-singer with the fatal voice and deadly illness. One of the greatest choreographers and dancers of the last century, Léonide Massine shines in three absolutely different roles demonstrating his talent as a dancer, strong emotions and tremendous humor.

What makes "The Tales of Hoffmann" not just an ordinary screen adaptation but the stunning unforgettable event, the film which had inspired the future famous directors George Romero and Martin Scorsese to become the filmmakers is the perfect combination of fantasy, classical music, ballet, singing, stunning visual effects, imaginative and often bizarre and even disturbing images that would fit a horror movie (deconstructing Olympia the doll is horrifying), incredible but calculated feast of colors, their mixture, the unique color palette to match each story, camera work that is so innovative and dynamic that even now, 56 years after the film was made, looks fresh and modern. The feast for eyes, ears, and feelings, "The Tales of Hoffmann" is the love child of incredibly talented people from different epochs and countries. The opera by Jacques Offenbach, the French composer is based on the dark romantic fairy tales by the German E.T. A. Hoffmann. The team of two directors known as "The Archers", the British Michael Powell and the Hungarian Jew Emeric Pressburger who had to flee his country before the WWII, and their international team of stars, color consultants, choreographers and production designers made this miracle happen.

The last but not the least is legendary Sir Thomas Beecham conducting the Royal Philharmonic Orchestra. Was the above review useful to you? 18 out of 20 people found the following review useful: dazzling from United Kingdom 4 September 2003 Powell and Pressburger made this overblown opera a few years after their ballet film, The Red Shoes. Featuring good performances from Robert Rounsville, Moira Shearer, Robert Helpmann and Pamela Brown and some fantastic images; plus that great music from Offenbach (not always easy to follow the stories but they are enjoyable) and lots of garish Technicolor. I think Olympia might be my favourite of the stories but I did find them all equally excellent. Hard to categorise this movie but in the P&P canon it stands as one of their best. Was the above review useful to you? 15 out of 15 people found the following review useful: A grand artistic vision from India 18 February 2006 TALES OF Hoffman  Powell & Pressburger This colorful film adaptation of an by Offenbach is a musical in the truest sense, meaning every bit of narrative and dialog is put forth by means of song.

I am not in general the biggest fan of such endeavors, but it works quite well for this film, although some of the love paeans may be outstaying their welcome. In the story a poet  Hoffman  tells in episodic fashion about the many times that he has loved and lost. There have been several films made with such a theme but Hoffman stands well apart because of the Goth-fantastic nature of the narratives. Hoffman, in turn, falls in love with Olympia - a puppet, Guiletta - the temptress of a soul-stealing demon, and Antonia - a singer doomed by fatal consumptive illness. This narrative is complemented by the brilliantly supportive artistic design of the film. The makers construct a deliberate stage-like ambiance, with the use of representative backdrops, suitably exaggerated props and striking motifs to convey the settings and moods of the various episodes. In this aspect it shares strong kinship with Masaki Kobayashi's period ghost story anthology Kwaidan.

You also have the concept of the same actor returning to play different parts in the various episodes of Hoffman's life, the most notable of which is Robert Helpmann who portrays the sinister element in all the episodes (and with his vampiric menacing look, does a terrific job of it, although his motive for evil in the Antonia episode goes unexplained). The fantastic elements of the plot, color-drenched distinctive look, intricate balletic choreography and excellent fit of all the actors in their roles make Tales of Hoffman a very interesting watching experience on the whole. One of my caveats with the film is that Hoffman's companion Nicklaus is never properly explained. Who is this woman in man's garb and why is she doing what she does? Was the above review useful to you? 16 out of 17 people found the following review useful: A nice two hours from Tulsa, OK 6 July 2000 I liked the Red Shoes more, but Tales of Hoffmann is still an excellent Powell & Pressburger movie. While I did have trouble understanding the English opera (my first one at that), the episode character lists really helped.

It's interesting to note that as Hoffmann tells his tales, the women in each episode become more "real." It did seem to drag on a bit at times, but I think it might be one of those movies that looks better with a second or third viewing. Still a wonderful and dazzling movie with amazing set & costume designs & expertly directed. Was the above review useful to you? 17 out of 19 people found the following review useful: THE TALES OF Hoffman (Michael Powell and Emeric Pressburger, 1951) *** from Naxxar, Malta 18 May 2006 I'm not a fan of ballet but I've always loved Powell and Pressburger's THE RED SHOES (1948); so, naturally, I've been looking forward to this one ever since it was first announced - years ago - as a Criterion release! However, THE TALES OF HOFFMANN features the added element of opera; indeed, the entire film is sung!

On first viewing, my reaction to it was mixed: it's impossible not to be impressed by the visuals (particularly the stylization of Hein Heckroth's colorful and imaginative designs) but, since I'm no expert in classical music, I wasn't bowled over by Jacques Offenbach's score (apart from the celebrated "Barcarolle" piece) - especially since the lyrics, despite being an English translation, aren't easily followed! However, listening to it with the Audio Commentary, I could better appreciate the way it was made and the special effects that were adopted; especially interesting was the fact that it was filmed silent, thus allowing freer camera movement. The main cast, apart from Pamela Brown, is made up of ballet performers and opera singers - with the former, mostly recruits from THE RED SHOES, carrying the more compelling screen presence.

The framing story - featuring an additional ballet composed by the film's conductor Sir Thomas Beecham - is a bit short, so that we mostly learn about the characters played by Robert Rounseville (as Hoffmann) and Robert Helpmann through their various guises in the former's three tales (which are themselves variable in quality): i) the "Olympia" sequence, highlighting Moira Shearer and Leonide Massine, is overlong but quite charming; Helpmann's distinctive features are rather buried under some quaint make-up - though his violent destruction of Shearer (who plays a doll) makes for a quite unsettling moment! ii) "Giulietta" is the best and most interesting sequence, but also the shortest: Ludmilla Tcherina is a very sensuous heroine, while Helpmann and Massine are wonderful (and wonderfully made up) as respectively an evil magician and a (literally) soulless officer under both their spell; this sequence features some incredible imagery - like Tcherina's reflection in water picking up the aria she is singing, her walking over sculptures of dead bodies, Rounseville and Massine's saber duel set to music (i.e.

presented without any sound effects) and the scene in which Rounseville loses his reflection when tempted in front of a mirror by Tcherina iii) the "Antonia" sequence is again too long (it was severely cut in the original U.S. theatrical release) and, because it's mostly straight opera, emerges as the most labored segment: Massine is pretty much wasted here, while Ann Ayars is nowhere near as captivating as Shearer or Tcherina; however, Helpmann's belated entrance as the satanic Dr. Miracle takes the sequence to another level, and especially memorable here is the scene where Ayars exits a room only to re-enter it from another door (which must have inspired a similar incident in Mario Bava's KILL, BABY, KILL!

[1966]) and the one where Ayars and Helpmann's dancing figures are divided into four to fill up the entire screen - with the latter taking each of his guises in the different segments and, likewise, the former being replaced with the heroines of each tale (Moira Shearer appears twice here as she also plays Stella, Hoffmann's love interest in the framing story!) The Archers' films are among my favorites - though I was somewhat underwhelmed by I KNOW WHERE I'M GOING! (1945; I still haven't purchased the Criterion SE), THE BATTLE OF THE RIVER PLATE (1956; amazingly, both of my two attempts to view it in the past have only managed to put me to sleep!) and, now, THE TALES OF HOFFMANN.

I've yet to watch 4 of their collaborations - CONTRABAND (1940; I've been tempted, time and again, to buy Kino's bare-bones DVD but the over-inflated price always got in the way!), THE ELUSIVE PIMPERNEL (1950), GONE TO EARTH (1950; this troubled production isn't likely to see the light of day on R1 DVD anytime soon, but is at least available via a budget-priced R2 edition), and their last 'musical' together OH, ROSALINDA! (1955). I would also like to watch Powell's solo films HONEYMOON (1959) and BLUEBEARD'S CASTLE (1964), which are yet two more musically-oriented ventures. Was the above review useful to you? Page 1 of 5:

Question: In which opera by Offenbach does a poet relate three stories about the loves of his life?
Answer: 'TALES OF HOFFMAN'