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"The Tales of Hoffmann" is primarily about the life and works of composer Jacques Offenbach.
Answer: True
The opera "The Tales of Hoffmann" centers on the life and artistic experiences of its composer, Jacques Offenbach, detailing his creative process and the opera's complex history.
The opera "The Tales of Hoffmann" is classified as a "grand opera."
Answer: False
The opera is classified as an "opéra fantastique," a genre that incorporates elements of fantasy and the supernatural, rather than a "grand opera."
The libretto for "The Tales of Hoffmann" was written by the opera's composer, Jacques Offenbach.
Answer: False
The French libretto for "The Tales of Hoffmann" was written by Jules Barbier, not by the composer Jacques Offenbach.
Offenbach was inspired to compose the opera by a ballet based on Hoffmann's tales.
Answer: False
Jacques Offenbach was inspired to compose "The Tales of Hoffmann" by a play titled "Les contes fantastiques d'Hoffmann," written by Jules Barbier and Michel Carré, rather than a ballet.
Hector Salomon had already begun composing the opera when he handed the project over to Offenbach.
Answer: True
After returning from America, Offenbach learned that Hector Salomon had initiated the musical composition for an opera based on Barbier's play, and Salomon subsequently transferred the project to Offenbach for completion.
What genre classification is given to Jacques Offenbach's opera "The Tales of Hoffmann"?
Answer: Opéra fantastique
The opera is classified as an "opéra fantastique," a genre that incorporates elements of fantasy and the supernatural.
Who wrote the French libretto for "The Tales of Hoffmann"?
Answer: Jules Barbier
The French libretto for "The Tales of Hoffmann" was written by Jules Barbier, who adapted three short stories by E. T. A. Hoffmann.
"The Tales of Hoffmann" is based on short stories by which author?
Answer: E. T. A. Hoffmann
The opera "The Tales of Hoffmann" is based on three short stories by the German Romantic author E. T. A. Hoffmann.
What is the significance of "The Tales of Hoffmann" in relation to Jacques Offenbach's life?
Answer: It was his final completed work, as he died before its premiere.
"The Tales of Hoffmann" holds particular significance as it was Jacques Offenbach's final work; he died just four months before its premiere, leaving it as his last completed composition.
What specific work inspired Jacques Offenbach to compose the opera?
Answer: A play titled "Les contes fantastiques d'Hoffmann"
Offenbach was inspired to compose "The Tales of Hoffmann" by a play titled "Les contes fantastiques d'Hoffmann," written by Jules Barbier and Michel Carré.
How did Offenbach become involved in completing the opera after the play's production?
Answer: Hector Salomon, who initially started composing it, handed the project over to him.
After returning from America, Offenbach learned that Hector Salomon had initiated the musical composition for an opera based on Barbier's play, and Salomon subsequently transferred the project to Offenbach for completion.
Jacques Offenbach completed "The Tales of Hoffmann" and saw it performed during his lifetime.
Answer: False
Jacques Offenbach died in October 1880, four months prior to the opera's premiere in February 1881. Therefore, he did not live to see his final completed work performed.
Offenbach shared a premonition that he would not live to see his opera completed, similar to the character Antonia.
Answer: True
Offenbach expressed a premonition that he would not witness the premiere of "The Tales of Hoffmann," a sentiment mirrored by the character Antonia, who succumbs to her singing.
Offenbach's dying wish was for the opera's premiere to be postponed until after his death.
Answer: False
Offenbach's dying wish, conveyed to Léon Carvalho, was to expedite the opera's staging and attend the opening night, rather than postpone it.
Offenbach's premonition about his opera mirrored which character's fate within the opera?
Answer: Antonia
Offenbach expressed a premonition that he would not witness the premiere of "The Tales of Hoffmann," a sentiment mirrored by the character Antonia, who succumbs to her singing.
What urgent request did Offenbach make to Léon Carvalho shortly before his death?
Answer: To prioritize the staging of "The Tales of Hoffmann."
Shortly before his death, Offenbach urged Léon Carvalho to "Hurry up and stage my opera. I have not much time left, and my only wish is to attend the opening night."
The opera is based on three short stories by the German author E. T. A. Hoffmann, who also appears as the protagonist.
Answer: True
The opera draws from three distinct tales by E. T. A. Hoffmann: "Der Sandmann" (Act 1), "Rath Krespel" (Act 2), and "Das verlorene Spiegelbild" (Act 3). Hoffmann himself serves as the central protagonist, experiencing these fantastical love affairs.
Act 1 of the opera is based on E. T. A. Hoffmann's tale "The Cremona Violin."
Answer: False
Act 1 of the opera is primarily based on E. T. A. Hoffmann's tale "Der Sandmann" (The Sandman). "The Cremona Violin" (also known as "Rath Krespel") is the source for Act 2.
The opera draws from Hoffmann's "The Lost Reflection" for its second act.
Answer: False
The second act of the opera is inspired by E. T. A. Hoffmann's tale "Rath Krespel" (Councillor Krespel), also known as "The Cremona Violin." "The Lost Reflection" is the source for Act 3.
Olympia, Hoffmann's first love interest, is a real woman with a fragile singing voice.
Answer: False
Olympia is depicted as an automaton, a mechanical doll, rather than a real woman. Hoffmann is deceived into believing she is human.
In Act 2, Antonia's father, Crespel, encourages her to sing despite her illness.
Answer: False
Antonia's father, Crespel, strictly forbids her from singing due to the danger posed by her illness. It is Dr. Miracle who encourages her to sing.
Dr. Miracle persuades Antonia to sing, which ultimately leads to her death.
Answer: True
Dr. Miracle, the act's antagonist, persuades Antonia to sing by conjuring a vision of her deceased mother, a fatal act that leads to Antonia's death.
In Act 3, Giulietta is manipulated by Captain Dapertutto to steal Hoffmann's voice.
Answer: False
In Act 3, Giulietta is manipulated by Captain Dapertutto to steal Hoffmann's reflection, not his voice. Hoffmann loses his reflection to Giulietta.
Hoffmann loses his reflection in Act 3 because he accidentally breaks a mirror.
Answer: False
Hoffmann loses his reflection in Act 3 when Giulietta, manipulated by Dapertutto, steals it from his mirror. He does not break a mirror.
In the Epilogue, Nicklausse reveals herself to be the spirit of Hoffmann's deceased mother.
Answer: False
In the Epilogue, Nicklausse reveals her true identity as the Muse, who guides Hoffmann's artistic endeavors, rather than the spirit of his deceased mother.
Which E. T. A. Hoffmann tale forms the basis for Act 1 of the opera?
Answer: "The Sandman"
Act 1 of the opera is primarily based on E. T. A. Hoffmann's tale "Der Sandmann" (The Sandman).
Act 2 of "The Tales of Hoffmann" is inspired by which of E. T. A. Hoffmann's tales?
Answer: "Rath Krespel" / "The Cremona Violin"
The second act of the opera is inspired by E. T. A. Hoffmann's tale "Rath Krespel" (Councillor Krespel), also known as "The Cremona Violin."
Which tale is loosely adapted for Act 3 of the opera?
Answer: "The Lost Reflection"
Act 3 of the opera is loosely adapted from E. T. A. Hoffmann's "Das verlorene Spiegelbild" (The Lost Reflection), which is part of "The Adventures of New Year's Eve."
What is the nature of Olympia, Hoffmann's first love interest in the opera?
Answer: An automaton or mechanical doll
Olympia is depicted as an automaton, a mechanical doll, created by the scientist Spalanzani. Hoffmann is deceived into believing she is human.
What is the central conflict in Act 2 (Antonia) concerning the title character?
Answer: She is forbidden to sing due to a dangerous illness.
Antonia, who possesses a gifted singing voice, is forbidden by her father from singing due to a mysterious illness that makes it dangerous for her health.
What role does Dr. Miracle play in Antonia's fate in Act 2?
Answer: He persuades Antonia to sing, leading to her death.
Dr. Miracle, the act's antagonist, persuades Antonia to sing by conjuring a vision of her deceased mother, a fatal act that leads to Antonia's death.
What is the setting and main plot point of Act 3 (Giulietta)?
Answer: A Venetian palace; Giulietta steals Hoffmann's reflection.
Act 3 is set in a Venetian palace, where the courtesan Giulietta, manipulated by Captain Dapertutto, steals Hoffmann's reflection.
How does Hoffmann lose his reflection in Act 3?
Answer: Giulietta seduces him and steals it under Dapertutto's orders.
Hoffmann loses his reflection in Act 3 when Giulietta, manipulated by Captain Dapertutto, steals it from his mirror after seducing him.
What does Nicklausse reveal in the Epilogue?
Answer: She is the Muse who guides Hoffmann's art.
In the Epilogue, Nicklausse reveals her true identity as the Muse, who guides Hoffmann's artistic endeavors.
The role of Hoffmann is typically sung by a baritone.
Answer: False
The role of Hoffmann, the poet, is typically performed by a tenor, as exemplified by Jean-Alexandre Talazac at the opera's premiere.
The roles of The Muse and Nicklausse are usually performed by a soprano.
Answer: False
The roles of The Muse and Nicklausse are typically performed by a mezzo-soprano, not a soprano.
Émile-Alexandre Taskin performed only one villain role at the opera's premiere.
Answer: False
The renowned singer Émile-Alexandre Taskin performed all four villain roles (Lindorf, Coppélius, Miracle, and Dapertutto) at the premiere of "The Tales of Hoffmann."
What voice type is typically assigned to the protagonist, Hoffmann?
Answer: Tenor
The role of Hoffmann, the poet, is typically performed by a tenor, as exemplified by Jean-Alexandre Talazac at the opera's premiere.
Which characters are typically sung by a mezzo-soprano in "The Tales of Hoffmann"?
Answer: The Muse and Nicklausse
The roles of The Muse and Nicklausse are typically performed by a mezzo-soprano.
The famous barcarolle "Belle nuit, ô nuit d'amour" was originally composed for Offenbach's opera "The Fairies of the Rhine."
Answer: True
The renowned barcarolle, "Belle nuit, ô nuit d'amour," which features prominently in Act 3, was originally composed by Offenbach for his earlier opera "Die Rheinnixen" (The Fairies of the Rhine).
The "Chanson du Diamant" is sung by Hoffmann to encourage Giulietta.
Answer: False
The "Chanson du Diamant" is sung by Captain Dapertutto, not Hoffmann. Dapertutto uses the song to encourage Giulietta to steal Hoffmann's reflection in exchange for a diamond.
What is the common name for Olympia's famous aria "Les oiseaux dans la charmille" in Act 1?
Answer: The Doll Song
Olympia's aria "Les oiseaux dans la charmille" (The birds in the bower) in Act 1 is widely recognized and commonly referred to as "The Doll Song" due to its subject matter.
What is the significance of the barcarolle "Belle nuit, ô nuit d'amour" in Act 3?
Answer: It was originally composed for Offenbach's earlier opera "Die Rheinnixen."
The renowned barcarolle, "Belle nuit, ô nuit d'amour," which features prominently in Act 3, was originally composed by Offenbach for his earlier opera "Die Rheinnixen" (The Fairies of the Rhine).
What is the purpose of the "Chanson du Diamant" sung by Dapertutto in Act 3?
Answer: To encourage Giulietta to steal Hoffmann's reflection, promising a diamond.
The "Chanson du Diamant" is sung by Captain Dapertutto, who uses the song to encourage Giulietta to steal Hoffmann's reflection in exchange for a diamond.
The opera's first public performance occurred in Vienna in 1881.
Answer: False
The opera's first public performance took place at the Opéra-Comique in Paris on February 10, 1881, not in Vienna.
A fire and gas explosion at the Ringtheater in Vienna disrupted the opera's run there.
Answer: True
A four-act version of the opera staged at the Ringtheater in Vienna in December 1881 was indeed disrupted by a gas explosion and fire that occurred after its second performance.
The fire at the Opéra-Comique in 1887 destroyed the opera's original manuscript score.
Answer: False
A fire at the Opéra-Comique in 1887 destroyed the orchestral parts of "The Tales of Hoffmann," necessitating their reconstruction and delaying subsequent Paris performances until 1893.
Patrice Chéreau directed the Paris Opera's staging of the opera in 1974, with Nicolai Gedda singing the title role.
Answer: True
The Paris Opera's production in October 1974 was indeed directed by Patrice Chéreau, with Nicolai Gedda performing the role of Hoffmann.
What was the consequence of the fire at the Opéra-Comique in 1887?
Answer: It destroyed the orchestral parts, delaying Paris performances until 1893.
A fire at the Opéra-Comique in 1887 destroyed the orchestral parts of "The Tales of Hoffmann," necessitating their reconstruction and delaying subsequent Paris performances until 1893.
In what year did Patrice Chéreau direct the Paris Opera's staging of "The Tales of Hoffmann"?
Answer: 1974
The Paris Opera's production in October 1974 was directed by Patrice Chéreau.
Which of the following cities hosted early international performances of the opera in 1882?
Answer: Geneva, Budapest, Hamburg, New York, Mexico
Early international performances of the opera in 1882 took place in cities including Geneva, Budapest, Hamburg, New York, and Mexico.
What significant discovery in the 1970s led to more authentic editions of the opera?
Answer: The finding of manuscript sources and autograph annotations by Offenbach.
The discovery of manuscript sources, including autograph annotations by Offenbach, in the 1970s was crucial for creating more authentic performing editions of the opera.
The 1951 film adaptation of "The Tales of Hoffmann" was directed by Jacques Offenbach.
Answer: False
The 1951 film adaptation of "The Tales of Hoffmann" was directed by the acclaimed British filmmakers Michael Powell and Emeric Pressburger, not by Jacques Offenbach.