Tales of Hoffmann - SpeedyLook encyclopedia

Characters

Hoffmann, poet - tenor
Olympia, mechanical headstock - soprano
Antonia, young girl - soprano
Giulietta, courtesan - mezzo-soprano
Stella, professional singer - soprano
Lindorf - baritone-low
Coppélius - baritone-low
Doctor Miracle - baritone-low
Dapertutto Captain - baritone-low
Nicklausse/the MUSE - mezzo-soprano
Andrès, servant of Stella - tenor-puffs out
Cochenille, servant of Spalanzani - tenor-puffs out
Frantz, servant of Crespel - tenor-puffs out
Pitichinaccio, buffoon of Giulietta - tenor-puffs out
Nathanaël, student - tenor
Hermann, student - baritone
Wilhelm, student - tenor (role cut after creation)
Luther, innkeeper - low
Spalanzani, inventor - trial ( tenor-puffs out )
Crespel, father of Antonia - low
the voice of the tomb (the Mother of Antonia) - mezzo-soprano
Schlémil, lover of Giulietta - baritone

Creators

Hoffmann: Jean-Alexandre Talazac
Olympia/Antonia/Giulietta/Stella: Adele Isaac
Lindorf/Coppélius/Miracle/Dapertutto: Emile-Alexandre Taskin
Nicklausse: Marguerite Ugalde
Andrès/Cochineal/Frantz/Pitichinaccio: Pierre Grivot
Nathanaël: Chenevières
Hermann: Test
Luther: Troy
Spalanzani : E. Gourdon
Crespel: Belhomme
a voice: Dupuis

Structure

The opera contains a prolog, three acts and an epilog. Offenbach died the October 5th 1880, a little more than four months before the first representation. Before its death, it had finished the version piano but had orchestrated only the prolog and the first act. Consequently, several versions of the opera were made, certain differing much from original work.

Here a list of certain modifications often observed:

Addition of music not having been composed by Offenbach itself
Change about the acts

As the three acts are independent, they can easily be interchanged without that not affecting the history. The order suggested by Offenbach is: Prolog-Olympia-Antonia-Giulietta-epilog.
On the other hand, the act of Giulietta precedes sometimes that by Antonia. As this last is most accomplished from the musical point of view, some chiefs make this change because they judge that this act contains a strong musical and emotional top.

Changes in the history

At the time of certain representations (for example the first in the Op3era Comique), the prolog with the MUSE as well as the act of Giulietta are cut. In 1881, at the time of the first in Vienna, Giulietta does not die by accidental poisoning because that would not have rained with the public.

Change of the number of singers

Like Olympia, Antonia and Giulietta represents three facets of the same person (Stella), they must all be played consequently a singer. The four antagonists should also be played by the same singer because they represent a whole a manifestation of the Evil. Several adaptations of the opera, even today, do not respect this idea.

The most famous piece of the opera is by far the Barcarolle, heard in the act of Giulietta. It was used in several films, for example the Life is beautiful of Roberto Benigni.

Summary

Prolog

A tavern of Nuremberg. The MUSE appears. It reveals its intention to only draw the attention of Hoffmann to it and to make him disavow all its other loves so that he is completely devoted to her: poetry. It takes the appearance of the best friend of Hoffmann, Niklausse. prima donna Stella, singing then Don Giovanni Mozart, sends a letter to Hoffmann requiring of him to come to meet it in its cabin after the spectacle. This letter, containing the key of the cabin, falls between the hands from the Lindorf Adviser, who then intends to go in the cabin of Stella in his place. At the interval of the representation of Don Giovanni, Hoffmann arrives in the tavern where students awaited it and amuses them with the history of the Kleinzach dwarf. Lindorf then presses it to tell its three stories of love.

First act

Hoffmann falls in love with the Olympia automat, created by the Spalanzani scientist. Coppélius, a charlatan having provided to Spalanzani the eyes of Olympia, sells in Hoffmann glasses which show to him Olympia like a true woman. Hoffmann is believed then liked of it. Niklausse is some perplexed and subtly tries to inform his/her friend. Whereas he dances with Olympia, Hoffmann falls, and its glasses break. At this point in time Coppélius which wants to be avenged for a fraud of Spalanzani, arrives and destroys Olympia. At this time, Hoffmann realizes of the true nature of that which he liked, however that crowd laughs of the naivety of the poet.

Second act

Hoffmann finds finally the residence of Crespel and its Antonia daughter. Hoffmann and Antonia like but are separated by Crespel. We learn whereas Antonia saw under the influence of a terrible disease and that it must for that avoid singing at all costs, which is damage because it inherited the splendid voice of her mother. It is thus for this reason that Crespel defends with his/her daughter to sing and, at the same time, to attend Hoffmann because the latter encourages it to continue its career of singer. When Crespel leaves at his place, Hoffmann benefits from it to infiltrate in the house in order to find its beautiful Antonia. Crespel returns then and receives the visit of Doctor Miracle (the incarnation of the Evil) which persuades it to let it look after Antonia. Hidden, Hoffmann hears the conversation and learns from which terrible disease suffers Antonia. It immediately will see it to make him promise to give up the song. Antonia accepts with back-plate. Whereas it is alone, Doctor Miracle comes to it and tries to convince it to continue his dream because, according to him, Hoffmann likes it only for its beauty. Using an unspecified magic capacity, it reveals the late mother of Antonia and persuades the latter to sing. An intense trio with Miracle, Antonia and the appearance of his/her mother follows. Antonia connects the singing exercises until the syncope. Crespel arrives just in time to be pilot last sigh of his/her daughter. Hoffmann enters the part, where it is death threat by Crespel but is saved by Nicklausse.

Third act

Venice. Hoffmann falls in love with the Giulietta courtesan and thinks that its feeling is reciprocal. On its side, Giulietta allures it under the orders of the captain Dapertutto (the incarnation of the Evil) because this one promised to him a diamond in exchange of the reflection of Hoffmann. Schlemil, a victim of Giulietta and Dapertutto, tries to kill Hoffmann to save it its insane passion for Giulietta. It causes it in duel but is finally killed. Niklausse, wanting to leave Venice with Hoffmann, share to seek horses. During this time, Hoffmann meets Giulietta and, not being able to resist its charm, its reflection gives him, with the great pleasure of Dapertutto. Hoffmann informs Dapertutto that his/her friend Nicklausse will come to save it. Dapertutto thus prepares a poison for Nicklausse which is inopportunely drunk by Giulietta, which falls dead into the arms from Hoffmann.

Epilog

The tavern of the Prolog. Hoffmann, drunk person, swear that never more he will like anyone and explains only Olympia, Antonia, and Giulietta are in fact only three facets of the same person, Stella, which is at the same time young girl, artist and courtesan. At this point in time Nicklausse reveals its identity of MUSE and declares in Hoffmann: “Reappear poet! I love you Hoffmann! Belong me! ”, it what he answers: “MUSE liked, I am with you”. At this moment, Stella, enters the tavern and sees drunk Hoffmann. It presses it to leave it. Lindorf advances. Niklausse explains to Stella why Hoffmann does not like it any more and that to advise it Lindorf awaits it. Students enter the tavern, Stella and Lindorf from goes away together.

External bonds

File on '' Tales of Hoffmann ''

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