What is the primary subject of this article?

The article is about "The Tales of Hoffmann" (French: "Les contes d'Hoffmann"), an opera by Jacques Offenbach. It details its composition, performance history, roles, synopsis, musical numbers, various editions, and adaptations in film and dance.

What is the genre classification of Jacques Offenbach's opera "The Tales of Hoffmann"?

The opera is classified as an "opéra fantastique," which translates to a fantastic opera. This genre suggests a work that incorporates elements of fantasy, the supernatural, or the extraordinary.

Who wrote the libretto for "The Tales of Hoffmann," and what is the opera based upon?

The French libretto for "The Tales of Hoffmann" was written by Jules Barbier. The opera itself is based on three short stories by the German Romantic author E. T. A. Hoffmann, who also serves as the protagonist within the opera's narrative.

What is the significance of "The Tales of Hoffmann" in relation to Jacques Offenbach's life?

"The Tales of Hoffmann" holds particular significance as it was Jacques Offenbach's final work. He died in October 1880, just four months before the opera's premiere, leaving it as his last completed composition.

What inspired Jacques Offenbach to compose "The Tales of Hoffmann"?

Offenbach was inspired by a play titled "Les contes fantastiques d'Hoffmann," which was written by Jules Barbier and Michel Carré and first produced in Paris in 1851. This play served as the foundation for the opera.

How did Offenbach become involved in the opera project after the play's production?

After returning from America in 1876, Offenbach learned that Jules Barbier had adapted his play for an opera, and Hector Salomon had begun setting it to music. Salomon then handed the project over to Offenbach to complete.

What premonition did Offenbach share regarding his opera and his own life?

Offenbach had a premonition, similar to the character Antonia in the opera, that he would not live to see "The Tales of Hoffmann" completed. He died with the manuscript in his hand before its premiere.

What urgent request did Offenbach make to Léon Carvalho shortly before his death?

Shortly before he died, Offenbach wrote to Léon Carvalho, urging him to "Hurry up and stage my opera. I have not much time left, and my only wish is to attend the opening night." This highlights his strong desire to witness his final work performed.

What are the three specific short stories by E. T. A. Hoffmann that form the basis of the opera's acts?

The opera draws from three of E. T. A. Hoffmann's tales: "Der Sandmann" (The Sandman), originally published in 1816, which forms the basis for Act 1; "Rath Krespel" (Councillor Krespel), also known as "The Cremona Violin," from 1818, which inspires Act 2; and "Das verlorene Spiegelbild" (The Lost Reflection) from "The Adventures of New Year's Eve" (1814), which is loosely adapted for Act 3.

When and where did "The Tales of Hoffmann" have its first public performance?

The opera was first performed in a public venue at the Opéra-Comique in Paris on February 10, 1881. However, this premiere performance was presented in an abridged form, omitting the third act (the Venice act).

What significant event impacted the opera's performance history in Vienna?

A four-act version of the opera with recitatives was staged at the Ringtheater in Vienna on December 7, 1881. Tragically, a gas explosion and fire occurred at the theatre after the second performance, disrupting its run.

What incident prevented the opera from being performed in Paris for several years after its premiere?

A fire at the Opéra-Comique in 1887 destroyed the orchestral parts for "The Tales of Hoffmann." Consequently, the opera was not seen again in Paris until 1893, when it was staged at the Salle de la Renaissance du Théâtre-Lyrique.

How long did the Albert Carré production of "The Tales of Hoffmann" run at the Opéra-Comique?

A new production by Albert Carré, which included the Venice act, was mounted at the Opéra-Comique in 1911. This production proved highly successful, remaining in the repertoire until World War II and accumulating 700 performances.

Who directed the Paris Opera's staging of "The Tales of Hoffmann" in 1974, and who sang the title role?

The Paris Opera first staged the work in October 1974. The production was directed by Patrice Chéreau, and the title role of Hoffmann was performed by Nicolai Gedda.

Which cities hosted early international performances of "The Tales of Hoffmann"?

Outside of France, the opera was performed in Geneva, Budapest, Hamburg, New York, and Mexico in 1882. Further performances followed in Vienna, Prague, and Antwerp in 1883, and in Lvov and Berlin in 1884.

What voice type is typically assigned to the protagonist, Hoffmann?

The role of Hoffmann, the poet, is typically sung by a tenor. Jean-Alexandre Talazac performed this role at the opera's premiere.

Which characters are typically sung by a mezzo-soprano in "The Tales of Hoffmann"?

The roles of The Muse and Nicklausse are typically performed by a mezzo-soprano. At the premiere, Zoé Molé-Truffier sang The Muse, and Marguerite Ugalde sang Nicklausse.

Who performed the four villain roles (Lindorf, Coppélius, Miracle, and Dapertutto) at the opera's premiere?

The renowned singer Émile-Alexandre Taskin performed all four villain roles at the premiere of "The Tales of Hoffmann." These characters represent the various incarnations of evil and Hoffmann's nemesis.

What is the nature of Olympia, Hoffmann's first love interest in the opera?

Olympia is an automaton, a mechanical doll, created by the scientist Spalanzani. Hoffmann falls in love with her, unaware of her artificial nature, believing her to be a real woman.

What is the title of Olympia's famous aria in Act 1, and what is it commonly known as?

Olympia sings the aria "Les oiseaux dans la charmille" (The birds in the bower) in Act 1. This piece is widely recognized and often referred to as "The Doll Song" due to its subject matter.

What event leads to the destruction of Olympia in Act 1?

While dancing with Hoffmann, Olympia winds down and needs to be rewound by Spalanzani. Later, Coppélius, seeking revenge against Spalanzani for unpaid fees, tears Olympia apart, revealing her mechanical nature to Hoffmann.

What is the central conflict in Act 2 (Antonia) concerning the title character?

Antonia, who inherited her mother's singing talent, suffers from a mysterious illness that forbids her from singing. Her father, Crespel, forbids it due to the danger, while Dr. Miracle, the act's villain, persuades her to sing, leading to her death.

Who is Dr. Miracle, and what role does he play in Antonia's fate?

Dr. Miracle is the embodiment of Nemesis in Act 2. He uses his mystic powers to raise a vision of Antonia's dead mother and convinces Antonia to sing, which tragically causes her death, fulfilling her mother's path to glory but ending her own life.

What is the setting and main plot point of Act 3 (Giulietta)?

Act 3 is set in a Venetian palace and centers around the courtesan Giulietta. Hoffmann falls in love with her, but she is manipulated by Captain Dapertutto to steal Hoffmann's reflection from a mirror, a task she accomplishes, leading to Hoffmann's abandonment.

What is the significance of the barcarolle "Belle nuit, ô nuit d'amour" in Act 3?

The barcarolle "Belle nuit, ô nuit d'amour" (Beautiful night, oh night of love) is a famous and beautiful piece that opens Act 3. Offenbach originally composed this melody for his earlier opera "Die Rheinnixen" (The Fairies of the Rhine).

How does Hoffmann lose his reflection in Act 3?

Giulietta, under the orders of Captain Dapertutto, seduces Hoffmann. Hoffmann, unable to resist her, gives her his reflection, which is the object Dapertutto desired, leading to his eventual abandonment by Giulietta.

What is Hoffmann's interpretation of Olympia, Antonia, and Giulietta in the Epilogue?

In the Epilogue, Hoffmann, drunk, declares that Olympia, Antonia, and Giulietta are not separate individuals but rather three facets of the same person: Stella. He sees them as representing Stella's young girl, musician, and courtesan aspects.

What revelation does Nicklausse make in the Epilogue?

In the Epilogue, Nicklausse reveals her true identity as the Muse. She reclaims Hoffmann, urging him to "Be reborn a poet! I love you, Hoffmann! Be mine," signifying a return to his artistic calling.

What happened to the orchestral parts of the opera after the 1887 fire at the Opéra-Comique?

The fire at the Opéra-Comique in 1887 tragically destroyed the orchestral parts of "The Tales of Hoffmann." This event necessitated the reconstruction of the score and contributed to the creation of various editions.

Who is credited with completing the scoring for the premiere version of the opera?

Ernest Guiraud completed the scoring for the premiere version of "The Tales of Hoffmann." This version was performed without the Giulietta act, with some of its music being redistributed to the Antonia act and the epilogue.

What was Offenbach's intention regarding the casting of the soprano and villain roles?

Offenbach intended for the four soprano roles (Stella, Olympia, Antonia, and Giulietta) to be sung by the same singer, symbolizing their connection to Stella. Similarly, he envisioned the four villain roles (Lindorf, Coppélius, Miracle, and Dapertutto) being performed by a single bass-baritone, representing the unified force of evil.

What significant discovery in the 1970s led to more authentic editions of the opera?

The discovery of manuscript sources, including autograph annotations by Offenbach, by conductor Antonio de Almeida in the 1970s was crucial. These findings allowed for the creation of new performing editions, such as those by Fritz Oeser and Michael Kaye, which aimed to restore Offenbach's original intentions.

What is the 'Kaye-Keck' edition of "The Tales of Hoffmann"?

The 'Kaye-Keck' edition, released in 2011, is a critical joint edition that reflects and reconciles decades of research by scholars Michael Kaye and Jean-Christophe Keck. Productions drawing on this edition aim to present a more faithful representation of Offenbach's conception.

What is the common name for the aria "Les oiseaux dans la charmille"?

The aria "Les oiseaux dans la charmille," sung by Olympia in Act 1, is commonly known as "The Doll Song." It is one of the most famous pieces from the opera, depicting the mechanical doll's performance.

Which film adaptation of "The Tales of Hoffmann" was written, produced, and directed by Michael Powell and Emeric Pressburger?

The British film adaptation released in 1951 was written, produced, and directed by the acclaimed filmmaking duo Michael Powell and Emeric Pressburger, known for their distinctive visual style.

What is the significance of the "Prologue" in the opera's structure?

The Prologue sets the stage by introducing the Muse, who aims to capture Hoffmann's artistic devotion. It also establishes the tavern setting and introduces Councillor Lindorf, the first of the opera's antagonists, who intercepts a letter meant for Hoffmann.

What is the role of Nicklausse throughout the opera?

Nicklausse serves as Hoffmann's loyal friend and companion. In the Prologue and Epilogue, Nicklausse is revealed to be the Muse, guiding Hoffmann and representing his artistic inspiration, while also attempting to warn him of danger in the individual acts.

What does the "Air du Violon" in Act 2 signify?

The "Air du Violon" (Violin Air), sung by Nicklausse in Act 2, is a piece that subtly warns Hoffmann about the dangers associated with Antonia's singing and her fragile health, hinting at the tragic events to come.

What is the "Chanson du Diamant" in Act 3?

The "Chanson du Diamant" (Diamond Song), sung by Dapertutto, is a piece where he encourages Giulietta to steal Hoffmann's reflection, promising her a diamond as a reward. This song highlights the theme of temptation and betrayal in the Venetian act.

What is the "Chanson de Kleinzach"?

The "Chanson de Kleinzach" (Song of little Zaches) is performed by Hoffmann in the Prologue. It is based on E. T. A. Hoffmann's short story "Klein Zaches, genannt Zinnober" and introduces the character of the dwarf.

What is the primary purpose of the "External links" section in the article?

The "External links" section provides readers with access to additional resources related to "The Tales of Hoffmann." This includes links to media on Wikimedia Commons, musical scores on IMSLP, the opera's libretto on Project Gutenberg, and scholarly analyses.

What does the "Authority control" section indicate?

The "Authority control" section lists identifiers from various databases (like VIAF, GND, BnF, MusicBrainz) that link to authoritative records for "The Tales of Hoffmann." This helps ensure consistency and provides access to related metadata and resources.

What is the significance of the opera's title character, Hoffmann?

Hoffmann is the central protagonist of the opera, a poet who experiences three distinct, fantastical love affairs. The opera explores his artistic passion, his susceptibility to illusion, and his struggle between love and his poetic muse.

How did the opera's premiere differ from Offenbach's original conception regarding the number of acts?

The opera's premiere in 1881 was performed without the third act (the Venice act). Offenbach had intended the opera to include all three love stories, and the omission of the Venice act at the premiere was a significant departure from his original plan.

What is the "Opéra fantastique" classification?

The term "opéra fantastique" describes operas that incorporate elements of fantasy, the supernatural, or the uncanny. "The Tales of Hoffmann" fits this genre due to its dreamlike and often surreal narratives.

What role did Jules Barbier play in the creation of "The Tales of Hoffmann"?

Jules Barbier was the librettist for "The Tales of Hoffmann." He adapted three short stories by E. T. A. Hoffmann into the opera's libretto, shaping the narrative structure and dialogue.

What is the "Nemesis" concept as it applies to the villains in the opera?

The concept of "Nemesis" in "The Tales of Hoffmann" refers to the recurring villainous characters who embody evil forces and actively thwart Hoffmann's pursuits of love and art. Each act features a distinct incarnation of this nemesis: Lindorf, Coppélius, Miracle, and Dapertutto.

What is the "Gesamtkunstwerk" concept mentioned in the context of 19th-century theatre?

Gesamtkunstwerk, a German term meaning "total work of art," refers to a concept where all artistic elements—music, drama, visual arts, and stagecraft—are integrated into a unified whole. While not directly detailed for Hoffmann, it was a significant movement in 19th-century theatre that influenced opera.

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What is Hoffmann?

A Fantastical Opera

The Tales of Hoffmann (French: Les contes d'Hoffmann) is an opéra fantastique by Jacques Offenbach. It is based on three short stories by E. T. A. Hoffmann, who also serves as the protagonist within the opera's narrative framework.

Offenbach's Final Work

This opera represents Jacques Offenbach's final composition. He passed away in October 1880, mere months before its premiere. Despite his failing health, he was deeply invested in its completion and staging, famously urging the director to proceed swiftly.

Literary Roots

The opera draws its narrative threads from three distinct tales by the German Romantic author E. T. A. Hoffmann:

"Der Sandmann" (The Sandman), 1816
"Rath Krespel" (Councillor Krespel), also known as "The Cremona Violin", 1818
"Das verlorene Spiegelbild" (The Lost Reflection) from Die Abenteuer der Sylvester-Nacht (The Adventures of New Year's Eve), 1814

Composition History & Sources

Genesis of the Opera

Offenbach's inspiration stemmed from a play, Les contes fantastiques d'Hoffmann, by Jules Barbier and Michel Carré, first staged in 1851. Barbier later adapted this play into a libretto for Offenbach. The composition process was protracted, punctuated by Offenbach's need to compose lighter, more commercially successful works.

A Composer's Premonition

Much like the character Antonia, who is warned against singing due to her fragile health, Offenbach harbored a premonition of his own impending death before completing the opera. He continued working on the score throughout 1880, attending rehearsals, with his final moments reportedly occurring with the manuscript in hand.

Performance History

Premiere and Beyond

The opera premiered at the Opéra-Comique in Paris on February 10, 1881, in a version omitting the Venice act. Despite a fire at the Opéra-Comique in 1887 that destroyed orchestral parts, the work saw numerous international premieres and revivals, including significant productions in Geneva, Vienna, New York, and London throughout the late 19th and early 20th centuries.

Evolving Editions

The opera's complex performance history is marked by various editions and revisions. Offenbach's untimely death led to completions by others, such as Ernest Guiraud, resulting in different versions with varying musical content and structural arrangements. Scholarly efforts, notably by Antonio de Almeida, Fritz Oeser, Michael Kaye, and Jean-Christophe Keck, have sought to reconstruct Offenbach's original intentions, clarifying the narrative and character relationships.

Principal Roles

Character Breakdown

The opera features a demanding structure where Hoffmann, the poet, is the central figure, and the four villains and three primary love interests are often portrayed by the same singers, representing different facets of Hoffmann's experiences and the forces acting upon him.

Role	Voice Type	Premiere Cast (1881)
Hoffmann, a poet	Tenor	Jean-Alexandre Talazac
The Muse / Nicklausse	Mezzo-soprano	Marguerite Ugalde
Lindorf / Coppelius / Miracle / Dapertutto	Bass-baritone	Émile-Alexandre Taskin
Andrès / Cochenille / Frantz / Pitichinaccio	Tenor	Pierre Grivot
Stella / Olympia / Antonia / Giulietta	Soprano	Adèle Isaac
Voice of Antonia's mother	Mezzo-soprano	Dupuis
Luther	Baritone	Étienne Troy
Spalanzani, an inventor	Tenor	E. Gourdon
Crespel, Antonia's father	Baritone	Hippolyte Belhomme
Peter Schlémil	Baritone
Nathanaël, a student	Tenor	Chennevières
Hermann, a student	Baritone	Teste
Wilhelm, a student	Bass-baritone	Collin
Wolfram, a student	Tenor	Piccaluga
Students, Guests

The Narrative Arc

Prologue

In a Nuremberg tavern, the Muse reveals her intention to win Hoffmann's devotion for poetry, taking the form of his friend Nicklausse. Councillor Lindorf, the first villainous incarnation, intercepts a letter from Stella, Hoffmann's current love, planning to thwart Hoffmann's rendezvous.

Act 1: Olympia

Based on "The Sandman," this act features Hoffmann falling for Olympia, an automaton created by Spalanzani. Tricked by Coppelius's magic glasses, Hoffmann believes Olympia reciprocates his love, only to witness her destruction when Coppelius reveals her mechanical nature.

Act 2: Antonia

Drawing from "Rath Krespel," this act finds Hoffmann reunited with Antonia, a gifted singer whose father forbids her to sing due to illness. Dr. Miracle, the second villain, manipulates Antonia into singing, leading to her death, a tragedy Hoffmann witnesses.

Act 3: Giulietta

Loosely based on "The Lost Reflection," this Venetian act sees Hoffmann captivated by the courtesan Giulietta. Seduced by Dapertutto, the third villain, to steal Hoffmann's reflection, Giulietta ultimately betrays him, leading to further disillusionment.

Epilogue

Returning to the tavern, a drunken Hoffmann declares he will love no more, seeing Stella, Olympia, Antonia, and Giulietta as facets of the same woman. The Muse reclaims him, urging him to embrace his poetic destiny, while Stella departs with Lindorf.

Musical Highlights

Key Numbers

Offenbach's score is renowned for its melodic richness and dramatic variety. Several pieces have achieved iconic status within the operatic repertoire.

Prologue

1. Prélude
2. Couplets: "Glou! Glou!... La vérité, dit-on, sortait d'un puits" (The Muse, Chorus)
4. Couplets: "Dans les rôles d'amoureux langoureux" (Lindorf)
7. Chanson: "Il était une fois à la cour d'Eisenach!" (Hoffmann)
10. Final: "Je vous dis, moi"

Act 1: Olympia

16. Chanson: "Les oiseaux dans la charmille" (Olympia's Doll Song)
17. Scène: "Ah! Mon ami! Quel accent!"
20. Final: "En place les danseurs"

Act 2: Antonia

22. Rêverie: "Elle a fui, la tourterelle" (Antonia)
23. Couplets: "Jour et nuit" (Frantz)
27. Duo: "C'est une chanson d'amour" (Hoffmann, Antonia)

Act 3: Giulietta

32. Barcarolle: "Belle nuit, ô nuit d'amour" (Hoffmann, Nicklausse, Giulietta, Chorus)
35. Chanson du Diamant: "Tourne, tourne, miroir" (Dapertutto)
38. Romance: "Ô Dieu! de quelle ivresse" (Hoffmann)

Epilogue

45. Apothéose: "Des cendres de ton cœur"

The Challenge of Editions

Scholarly Reconstructions

Due to Offenbach's death before completion, numerous editions exist. Early versions often omitted acts or rearranged music. Modern scholarship, particularly the work of scholars like Michael Kaye and Jean-Christophe Keck, has focused on reconstructing the opera closer to Offenbach's original vision, emphasizing the unified nature of the love interests and villains, and the central role of the Muse.

Key Editions

Significant editions include those by Ernest Guiraud (early, influential), Fritz Oeser (1976), Michael Kaye (1992), and the combined Kaye-Keck edition (1999 onwards). These editions aim to clarify the opera's dramatic structure and restore Offenbach's intended musical and narrative coherence.

Notable Recordings

Landmark Interpretations

The opera has been extensively recorded, with several interpretations considered seminal. These often reflect different approaches to the various editions and casting choices.

André Cluytens (1964/65): Featuring Nicolai Gedda, this recording is highly regarded for its musicality.
Richard Bonynge (1971): Showcasing Plácido Domingo, Joan Sutherland, and Huguette Tourangeau, this version aligns with Bonynge's efforts to restore Offenbach's conception.
Julius Rudel (1972): With Stuart Burrows and Beverly Sills, this recording is noted for its strong vocal performances.
Kent Nagano (1996): Based on the Kaye-Keck version, featuring Roberto Alagna, this is considered a significant modern interpretation.

Adaptations & Legacy

Cinematic Interpretations

The Tales of Hoffmann has inspired several film adaptations, most notably the visually stunning 1951 British film directed by Michael Powell and Emeric Pressburger, which brought the opera's fantastical elements to life with vibrant Technicolor and imaginative staging.

Choreographic Inspirations

The opera's themes and music have also been adapted for ballet, with Peter Darrell creating a notable choreographic work utilizing Offenbach's music, primarily drawn from the opera itself.

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References

"The Cremona Violin" in Weird Tales, vol. 1, 1885, translated by John Thomas Bealby

Antonio de Almeida. 'Hoffmann' - The Original (?) Version. Opera, December 1980, Vol.31 No.12, p.1169-1172.

Michael Kaye. The true 'Hoffmann' - Michael Kaye introduces his edition. Opera, Vol.49 No.2, February 1998, p155-164.

Downes, Edward. 'The Tales of Hoffmann' (i) The Origianl Version. Opera, October 1954, Vol.5, No.10, p.589-593

Coulisses: Pluie d'autographes. News item in Diapason No. 645, April 2016, p. 12.

A full list of references for this article are available at the The Tales of Hoffmann Wikipedia page

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This content has been meticulously crafted by an AI persona simulating a Professional PhD Professor, intended for an audience pursuing higher education. While based on authoritative sources, it is presented for educational and informational purposes only. The interpretation and presentation of artistic works, such as operas, can be subjective. Users are encouraged to consult original scores, scholarly analyses, and attend live performances for a comprehensive understanding.

This is not professional artistic or musicological advice. The information provided should not substitute consultation with qualified musicologists, historians, or performing arts professionals. Always engage with primary sources and expert opinions for critical academic or performance-related decisions.

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The Opera of Illusions

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What is Hoffmann? 🎭

🎶 A Fantastical Opera

📜 Offenbach's Final Work

📚 Literary Roots

Composition History & Sources ⏳

✍️ Genesis of the Opera

🔮 A Composer's Premonition

Performance History 🏛️

🌍 Premiere and Beyond

🔄 Evolving Editions

Principal Roles 👥

🎭 Character Breakdown

The Narrative Arc 📖

🎬 Prologue

🤖 Act 1: Olympia

💔 Act 2: Antonia

💎 Act 3: Giulietta

💫 Epilogue

Musical Highlights 🎵

🎶 Key Numbers

Prologue

Act 1: Olympia

Act 2: Antonia

Act 3: Giulietta

Epilogue

The Challenge of Editions 📚

📖 Scholarly Reconstructions

🔍 Key Editions

Notable Recordings 🎧

💽 Landmark Interpretations

Adaptations & Legacy 🎬

🎞️ Cinematic Interpretations

🩰 Choreographic Inspirations

Teacher's Corner 🧑‍🏫

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Academic Disclaimer ⚠️

🎓 Important Considerations

Dive in with Flashcard Learning!

What is Hoffmann?

A Fantastical Opera

Offenbach's Final Work

Literary Roots

Composition History & Sources

Genesis of the Opera

A Composer's Premonition

Performance History

Premiere and Beyond

Evolving Editions

Principal Roles

Character Breakdown

The Narrative Arc

Prologue

Act 1: Olympia

Act 2: Antonia

Act 3: Giulietta

Epilogue

Musical Highlights

Key Numbers

The Challenge of Editions

Scholarly Reconstructions

Key Editions

Notable Recordings

Landmark Interpretations

Adaptations & Legacy

Cinematic Interpretations

Choreographic Inspirations

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Academic Disclaimer

Important Considerations