Bal 23.05.15 - Offenbach: The Tales of Hoffman

[Eine Alpensinfonie]

0915
Building a Library
Sarah Lenton compares available versions of Offenbach's opera The Tales of Hoffmann - a sumptuously tuneful score with music for a mechanical doll, Venetian beauties and magicians.

Available versions:

Angelo Bada, Vina Bovy, Rene Maison, Lawrence Tibbett
New York Metropolitan Opera Orchestra and Chorus, Maurice Abravanel (download)

Beverly Sills (Olympia, Antonia, Giulietta), Norman Treigle (Dappertutto, Coppelius, Miracle, Lindorff), André Turp (Hoffmann)
New Orleans Opera Orchestra, Knud Andersson

Rudolf Schock, Rita Streich, Anny Schlemm, Josef Metternich, Maria Reth, Anneliese Müller
Royal Philharmonic Orchestra, Thomas Beecham

Robert Rounseville (tenor), Dorothy Bond (soprano), Margherita Grandi (soprano), Monica Sinclair (mezzo-soprano)
Sadler's Wells Chorus, Royal Philharmonic Orchestra, Sir Thomas Beecham

Joan Sutherland (Antonia/Stella/Giulietta/Olympia), Plácido Domingo (Hoffmann), Gabriel Bacquier (Coppélius/Dapertutto/Lindorf/Miracle), Huguette Tourangeau (Nicklausse), Hugues Cuénod (Franz)
Suisse Romande Choir & Orchestra, Richard Bonynge

Plácido Domingo (Hoffmann), Joan Sutherland (Olympia, Giulietta, Antonia, Stella), Thomas Stewart (Coppélius, Dapertutto, Miracle), Huguette Tourangeau (Nicklaus), Nico Castel (Spalanzani), Andrea Velis (Frantz), Clifford Harvuot (Schlemil), James Morris (Crespil)
Orchestra & Chorus of the Metropolitan Opera New York, Richard Bonynge

Vina Bovy, Renee Doria, Raoul Jobin, Fanely Revoil
Paris Opera-Comique Orchestra and Chorus, Andre Cluytens

Placido Domingo (Hoffman), Catherine Malfitano (Olympia, Antonia and Giulietta), Ann Murray (Niklausse, Hoffmann's Muse), Jose van Dam(Lindorf, Coppélius, Miracle, Dapertutto), Rémy Corazza (Andrès, Cochenille, Frantz, Pitichinaccio), Kurt Rydl (Luther, Crespel), Jocelyne Taillon (Antonia's mother), Gérard Friedmann (Nathanaël, Spalanzani) & Peter Weber (Hermann, Schlémi)
Vienna Philharmonic Orchestra, James Levine

Sandor Konya, Gabriel Bacquier, Mady Mesple
Peter Maag

Richard Tucker (Hoffmann), Roberta Peters (Olympia), Risë Stevens (Giulietta), Lucine Amara (Antonia), Richard Tucker (Hoffmann), Martial Singher (Coppélius/Dapertutto/Miracle)
The Metropolitan Opera & Chorus, Pierre Monteux

Waldemar Kmentt (Hoffman), Rita Streich (Olympia), Anny Schlemm (Giulietta), Teresa Stich Randall (Antonietta) & George London (Lindorf, Coppelius, Dapertuto, Dr Miracle)
Bavarian Radio, Rudolf Moralt

Nicolai Gedda, Mattwilda Dobbs, Rosalind Elias, George London, Lucine Amara
Metrololitan Opera, Jean Morel


Plácido Domingo, Edita Gruberova, Claudia Eder, Gabriel Bacquier, Justino Díaz, James Morris, Andreas Schmidt, Robert Gambill & Christa Ludwig
Chœurs de Radio France & Orchestre National de France, Seiji Ozawa

Sills, Burrows, Treigel, Marsee, Castel
John Alldis Choir & London Symphony Orchestra, Julius Rudel (download)

Léopold Simoneau, Pierrette Alarie, Suzanne Danco, George London, Lucretia West
Vienna State Opera, Lee Schaenen

Richard Tucker (Hoffmann), Laurel Hurley (Olympia), Lucine Amara (Antonia), Belén Amparan (Giulietta), Natalie Kelepovska (Stella), George London (Lindorf, Coppélius, Docteur Miracle, Dapertutto), Mildred Miller (Nicklausse), Charles Anthony (Andrès, Fratz, Cochenile, Pitichinaccio), James McCracken (Nathanaël) & Calvin Marsh (Hermann)
Orchestra & Chorus of the Metropolitan Opera House, Thomas Schippers

Francisco Araiza (Hoffmann), Samuel Ramey (Dapertutto/Miracle/Coppélius), Anne Sofie von Otter (Nicklaus), Jessye Norman (Antonia), Eva Lind (Olympia), Cheryl Studer (Giulietta), Riccardo Cassinelli (Spalanzani), Boris Martinovitch (Crespil), Jean-Luc Craignaud (Schlemil), Georges Gautier (Cochenille), Felicity Palmer (La Mère d'Antonia)
Rundfunkchor Leipzig & Staatskapelle Dresden, Jeffrey Tate

Jeanette Scovotti (Olympia), Norma Sharp (Giulietta), Dietrich Fischer-Dieskau (Lindorf, Coppelius, Dapertutto, Mirakel), Julia Varady (Antonia), Gisela Schunk (Stella), Hanna Schwarz (Stimme der Mutter), Siegfried Jerusalem (Hoffmann), Klaus Hirte (Spalanzani), Norbert Orth (Nathanael) & Kurt Moll (Crespel)
Chor des Bayerischen Rundfunks & Münchner Rundfunkorchester, Heinz Wallberg
(In German)


DVD versions:

Robert Rounseville, Monica Sinclair, Pamela Brown, Moira Shearer, Dorothy Bond, Margerita Grandi, Ann Ayers
Royal Philharmonic Orchestra, Sadler’s Wells Chorus, Sir Thomas Beecham
DVD with bonus CDs

Vincenzo La Scola (tenor), Ruggero Raimondi (bass-baritone), Desirée Rancatore (soprano), Sara Allegretta (soprano) & Annalisa Raspagliosi (soprano)
Orchestra Filarmonica Marchigiana, Frédéric Chaslin

Patricia Petibon (Olympia), Marc Laho (Hoffmann), Nicolas Cavallier (Lindorf, Coppelius,Dr. Miracle,Dapertutto), Stella Dufexis (Niklausse, Muse), Rachel Harnisch (Antonia), Maria Riccarda Wesseling (Giulietta), Eric Huchet (Andres, Cochenille, Frantz, Pitichinaccio), Francisco Vas (Spalanzani), Bernard Deletre (Schlemil), Rene Schirrer (Luther) & Gilles Cachemaille (Crespel)
Choeur du Grand Théâtre de Genève & Orchestre de la Suisse Romande, Patrick Davin

Michael Spyres (Hoffmann), Kathleen Kim (Olympia), Natalie Dessay (Antonia), Tatiana Pavlovskaya (Giulietta), Michèle Losier (La muse, Nicklausse), Laurent Naouri (Lindorf, Coppélius, Docteur Miracle, Dapertutto), Manel Esteve (Spalanzani), Carlos Chausson (Crespel), Isaac Galán (Peter Schlémil), Francisco Vas (Andrès, Cochenille, Frantz, Pitichinaccio)
Symphony Orchestra and Chorus of the Gran Teatre del Liceu, Stéphane Denève (conductor)

Aquiles Machado, Milagros Poblador, María Bayo, Valentina Kutzarova, Konstantin Gorny & Katharine Goeldner

Alfredo Kraus (Hoffmann), Ruth Welting (Olympia), Barbara Hendricks (Antonia), Nicola Ghiuselev (Four Villains)
Sinfonica dell'Emilia-Romagna 'Arturo Toscanini', Alain Guingal

Chorus of Ópera de Bilbao & Bilbao Orkestra Sinfonikoa, Alain Guingal

Daniel Galvez-Vallejo, José van Dam
Chorus & Orchestra of the Lyon Opera, Kent Nagano

Hanns Nocker, Melitta Muszely, Rudolf Asmus & Werner Enders
Orchestra and Chorus of The Komische Oper Berlin, Karl-Fritz Voigtmann

[Eine Alpensinfonie]

I first heard the opera via a TV broadcast (late 60s) with Elizabeth Harwood as Olympia/Antonia/Giulietta, and it made a lasting impression. A pity this does not seem to have been issued.

[Nick Armstrong]

I wonder if this will be a live chat.... It would seem so given this announcement (and the fact that BaL is at the unusual time of 9.15, as noted above):

CD Review – LIVE ON AIR

A BBC Radio 3 Event at Hay

Event 31 • Saturday 23 May 2015, 9am–11.15am • Venue: BBC Tent
CD Review – LIVE ON AIR

Join the lively debate as our expert critics discuss the latest classical recordings live. Andrew McGregor will present an edition of BBC Radio 3’s CD Review live from the Hay Festival, and will be joined by guests Germaine Greer, Ian Bostridge and Stephen Johnson.

Under 16s must be accompanied by an adult over 18 years

Duration: 2 hours 15 minutes

Free but ticketed

According to the BBC schedule, CD Review continues after 11.15 for an hour - with extracts from the BaL winner immediately, and then Disc of the Week

[Richard Tarleton]

This work throws up some interesting issues - will they be satisfactorily covered in a live chat?

In his essay accompanying the LP set, Richard Bonynge discusses the matters of the dialogue versus the recitatives, and the rather convoluted early performing history of the opera. He stresses the importance of Olympia/Antonia/Giulietta/Stella all being sung by the same singer (likewise the four male roles). This is clearly a challenge to any singer - Wiki lists only 5 who have attempted all four roles (including of course Sutherland). But dramatically of course they have to be the same person, both the love object and the nemesis.

The famous Barcarolle was not in the original version, and does not make dramatic sense as Giulietta and Nicklausse are enemies - so as Bonynge says "it must be considered as a prelude to the scene and not a part of the drama". In the story, Giulietta accidentally takes the poison intended by Dapertutto for Nicklausse - this was later changed to the more "saccharine" ending of Giulietta sailing off in a gondola.

My problem with the Bonynge recording is the ordering of the scenes - as he himself says, in Offenbach's original plan it was Olympia-Antonia-Giulietta, but he reckons that the Antonia scene "is of a staggering musical inspiration and needs to be last". Who am I to argue with Richard Bonynge - but I just prefer the Venice scene last.

So plenty to think about when considering the different versions! I don't see myself getting another one, though. I have only seen one performance, the ENO's in 1972, which was visually stunning. I no longer have the programme - I have a dim memory of Olympia being performed by a dancer and sung offstage - by Anne Evans - can this be right? The singer came on for her curtain call in a sort of grey shift. Or am I dreaming. I'd love to hear from one of our opera experts.

[verismissimo]

Slow-going here.

Wonder how the Beecham will do after all the kerfuffle of last week's BAL Horn Concertos thread. It was recorded for the Powell and Pressburger film of 1947 with Moira Shearer and Robert Helpmann on screen, and Margherita Grandi and Monica Sinclair among the (unseen) singers.

[Eine Alpensinfonie]

This work throws up some interesting issues - will they be satisfactorily covered in a live chat?

Live chat need not prohibit coverage of the issues. They'll be in absolute agreement anyway. It just wastes time.

Incidentally, I agree with Bonynge re the dramatic sequence of the scenes.

[Don Petter]

Live chat need not prohibit coverage of the issues. They'll be in absolute agreement anyway. It just wastes time.

Perhaps they expect it to get a bit spiky, if under 16s have to have an adult to cover their ears, in extremis?

[Eine Alpensinfonie]

It would be good to have more discussion on this work.

Perhaps a bit less on confounded politics, eh?

[Nick Armstrong]

It would be good to have more discussion on this work.

Having been taken to hear this work in the opera house once some years back.... how can I put it? I'm looking forward to the following week's BaL on Mendelssohn's Piano Trio!

[Eine Alpensinfonie]

Having been taken to hear this work in the opera house once some years back.... how can I put it? I'm looking forward to the following week's BaL on Mendelssohn's Piano Trio!

Maybe it's worth giving the work another chance.

[Flosshilde]

I saw it at ENO many years ago; the main thing I remember is two male members of the chorus disappearing under a blanket at the beginning of the Venice scene & staying under there. I've since seen it in Paris, at the Bastille. Very enjoyable production using their facilities to the utmost - in the prelude scene the set, with singers, for the final scene of Marriage of Figaro, seen from the back, entered stage right & then exited stage left!

[Nick Armstrong]

Maybe it's worth giving the work another chance.

Oh I shall be listening, never fear! Ears and mind open, of course!

[Eine Alpensinfonie]

Oh I shall be listening, never fear! Ears and mind open, of course!

For once, I shall be taking it very seriously, in that I want to buy a recording of T. of H.

[Eine Alpensinfonie]

An all-star cast for the winner (James Levine), but I found Catherine Malfitano (Olympia, Antonia and Giulietta) to be just too fluttery for my taste. I'll have to listen again before making a decision.

[Eine Alpensinfonie]

As far for the two-way chit-chat was concerned, it was no better this time than it was on earlier attempts. AMc's interventions sound like a mentor, helping out a student by making soothing and helpful comments to make it flow. However, Sarah Lenton did not need this kind of assistance, having in-depth knowledge and understanding of the work and of the many recordings.