Tales of Hoffman

Reviewed by Holly Bartges

Central City Opera opened its 2004 season with Jacques Offenbach’s delectable Tales of Hoffman. It’s been 50 years since the Hoffman tales have been performed in Central City. They shouldn’t wait so long. The story itself is sheer unadulterated fun. The orchestra conducted by John Baril creates rich and awesome music. Under the stage direction of Paul Curran, the characters are simply delicious.

Sung in French with English subtitles, The Tales of Hoffman became an obsession for Offenbach. There was no way he was going to leave this earth with the music still in him. Perhaps under the strain of completion, he died before he could arrange the finishing touches on The Tales. The orchestration was completed by Ernest Guiraud, and in 1881 the opera premiered in Paris and Vienna with great success.

Tenor Gerard Powers takes on the demanding role of Hoffman as Grant Youngblood’s Lindorf demonically nips at his heels, delightfully tormenting the young poet. Has he ever been in love, Lindorf wants to know. Through three acts, the poet relates the three loves of his life: Olympia, sung by Anna Christy, who exemplifies beauty even though she is only a robotic doll, Antonia, sung by Elena Koiganova, who represents the epitome of artistic endeavor, and Giulietta, sung by Jane Bunnell, representing the height, breadth, and depth of sexuality. Perhaps these three represent Hoffman’s ideal woman embroiled in Stella who Lindorf rivals Hoffman for her affection.

To bring the issues closer to home, Curran and Set and Costume designer Kevin Knight have placed this production in pre World War II Berlin.

Offenbach weds high comedy while digging deep into the human psyche exploring what makes human nature tick.

Youngblood not only sings the role of Lindorf, but Coppelius, a competitor of the inventor Spalanzani, (Javier Abreu) Hoffman has attached himself to. Youngblood sings the role of Dr. Miracle, who warns the soprano, Antonia if she attempts to sing, she will die, as did her mother. And Youngblood sings the role of Dapertutto, a diabolic who is convinced he can use Guilietta to entice Hoffman into an uncompromising position to get him in his power. She succumbs. Hoffman caves.

Behind all of the romantic games Hoffman’s Muse frolics, cajoles, turns upside down and sideways to convince Hoffman he should love her as she loves him. Enchantingly sung by Julie Anne Bartholomew, who also sings the role of Nicklauasse.

So who is Hoffman? A poet, writer, playwright, critic, composer who was born in 1776 in what is now Germany. Mysteries involving the sinister dark side of life show up just about everywhere today, but E.T.A. Hoffman was the first to delve into the mixing of the supernatural with humanity. For some, the name may allude, but he is more familiar than what one might think. He penned The Nutcracker and The Mouse King.

Rich in thought, rich in humor, rich in insight, rich in music, rich in voice this production of The Tales of Hoffman is exquisite. Hopefully, Central City Opera won’t wait another 50 years to give it well-deserved stage life. If one has never been to an opera, and if the thought tickles the imagination, this production would be a grand place to start. For opera lovers, there should be no hesitation.