Opera Review: ‘Tales of Hoffmann’
Delightful ‘Hoffmann’ an apt anniversary celebratory work
April 7, 2008
by Peter Jacobi
Production values are high and right on the mark: sets by C. David Higgins capture places and moods; lighting by Michael Schwandt creates the aura of dreams and nightmares. And thanks to guest stage director Chris Alexander, “Tales of Hoffmann” at the Musical Arts Center has performers who, dramatically speaking, animate this opera by Jacques Offenbach in rousing fashion.
Musically, what one hears from two sizeable casts stretches from impressive to less so, although nothing does serious damage to the wondrous textures that the composer wove for these tales of the fantastical. Those textures are beautifully underscored in the pit by the Concert Orchestra performing admirably well under the veteran and knowing David Effron. As for the very important chorus, it sounded resplendent, thanks to its master, Vasiliki Tsouva.
The extra plus in this production, however, comes from Alexander’s concept and his realization of it. He’s recognized, for instance, that in the first act — devoted to the doll Olympia and Hoffmann’s deluded infatuation with it — Offenbach, though driven as his life neared an end to write a full-scale opera, reverted to what he did for a lifetime, French operetta. Alexander gave the act a manic, sometimes riotously absurd aura, more so than one usually gets in traditional approaches.
The second and third acts — Hoffmann’s experiences with two other figments of his imagination, the fragile singer Antonia, and the Venetian courtesan Giulietta — feature treatments that honor French grand and Italian opera. And for an ending that perhaps the more cynical Offenbach and the original author of these stories, the poet/tale teller E.T.A. Hoffmann, might not have chosen, Alexander added an anthem-like Offenbach chorus, not written for the opera. Its use allows one to believe that the drink-besotted, disillusioned, love-starved hero can be saved from his own despair, that, his Muse expresses hopefully, in him will “genius arise from the ashes of your heart.” One can take that as a lesson of art as a means to lift the spirit above the evils of everyday life.
In the opera, though, the evils are supernatural in the making, as embodied in an array of villains out to undo the hapless hero — the city councilor Lindorf, the eyeglass illusionist Coppelius, the speller of doom Dr. Miracle, and the shadowy Dappertuto. On opening night, in a tour de force, baritone Aleksey Bogdanov portrayed them all, bringing good voice and dramatic glee to the stage. The alternate cast split duties, ably and energetically handled by Adonis Duque Abuyen (Lindorf), Adam Cioffari (Coppelius and Dr. Miracle), and Oliver Henderson (Dapertutto).
The problem left unresolved concerns the title role, requiring a tenor voice to produce lots of volume, to be flexible, and to operate with lyrical quality, much of the time at high range. During 2002’s production of “Hoffmann” at IU, two mature outsiders were brought in to do what the likes of a Placido Domingo is required for. They didn’t. This time, two doctoral candidates were given the assignment. Chris Lysack (Friday) and Joshua Lindsay (Saturday) worked diligently and, as actors, shaped believable Hoffmanns. Musically, however, surging orchestral passages tended to drown them out. Lysack’s voice, while it hit the multitudinous high notes, acquired a not-always-pleasant nasal quality. Lindsay’s, though a bit rounder and more throat-centered, sometimes skirted the edges of the same “up there” notes.
Coloratura Yungie Rhie was a terrifically funny and vocally agile Olympia; Saturday’s Sarah Fox came close to matching her. Sopranos Jing Zhang and Carolina Castells brought fervor and lyrical thrust to the music for the unfortunate Antonia. Nicole Birkland and Leah McRath lifted their fine mezzos in behalf of the courtesan Giulietta; Birkland’s is the more finished of the two, but McRath, in her first Opera Theater role, offered promise aplenty.
Meghann Vaughn, on Friday, brought greater vocal heft than did Caryn Kerstetter the next night, to the dual role of the Muse and Hoffmann’s companion, Nicklausse, but both had the theatrical measure of things. Kenneth Pereira stood out opening night for his comic touch as the doll maker Spalanzani. On Saturday, it was Michael Cummings as the deaf servant in Antonia’s house who charmed with a melodic arietta amidst all the emotional carnage of that act.
Every performer, including those left unmentioned for lack of space, contributed to a most enjoyable production of a delightful opera.
The Indiana University Jacobs School of Music would like
to thank the Herald Times for permission to republish this review.
