OFFENBACH The Tales of Hoffmann
View record and artist detailsRecord and Artist Details
Composer or Director: Jacques Offenbach
Genre:
Opera
Label: C Major
Magazine Review Date: 06/2016
Media Format: Digital Versatile Disc
Media Runtime: 174
Mastering:
DDD
Catalogue Number: 735 508
Tracks:
Composition | Artist Credit |
---|---|
(Les) Contes d'Hoffmann, '(The) Tales of Hoffmann' |
Jacques Offenbach, Composer
Bengt-Ola Morgny, Spalanzani, Tenor Christophe Mortagne, Andrès; Cochenille; Frantz, Tenor Daniel Johansson, Hoffmann, Tenor Jacques Offenbach, Composer Johannes Debus, Conductor Kerstin Avemo, Olympia; Giulietta, Soprano Ketil Hugaas, Crespel, Bass Mandy Fredrich, Antonia; Giulietta, Soprano Michael Volle, Lindorf; Coppelius; Luther, Baritone Prague Philharmonic Choir Rachel Frenkel, undefined, Mezzo Vienna Philharmonic Orchestra |
Author: Tim Ashley
Herheim’s protagonist is drag queen Stella, played by actor Pär (Pelle) Karlsson, whom we first encounter plunging drunkenly down a flight of stairs during the course of a Busby Berkeley style revue. What follows is a blurry phantasmagoria in which the boundaries of narrative and psychology are deliberately kept uncertain. Daniel Johansson’s Hoffmann is possibly Stella’s lover, possibly her male alter ego. Rachel Frenkel’s Muse and Hoffmann’s various loves wear copies of Stella’s sequinned gown or her fetish-wear undies. Michael Volle, as the villains, is first seen shouting homophobic abuse from the stalls before invading the stage as some kind of spirit of negativity. But even he is eventually drawn into the staging’s sexually ambivalent world, donning drag as Miracle in order to torment Mandy Fredrich’s Antonia. Christophe Mortagne as the various servants, meanwhile, choreographs the resulting confusion dressed as Offenbach himself.
Not all of it works. The Antonia episode, in which Fredrich sings herself to death surrounded by tap dancers, doesn’t chill the marrow as much as it can. Kerstin Avemo’s Olympia is a sex doll that disturbingly develops a mind of its own. The Venetian scenes, so often problematic, come off best as a sinister game of desire and death. Herheim dispenses with Schlemil. Giulietta has become a decadent trinitarian Venus with Avemo, Fredrich and Frenkel shuttling the vocal line between them, while Mortagne-Offenbach plies a funeral gondola through the canals. It all looks glossy but could be more slick: if you’re going to evoke Busby Berkeley, then the big numbers need to be more together than they are here.
The Kaye-Keck edition forms the base text, though there are cuts and reorderings. Importations from Guiraud allow Volle, mesmerising throughout, to sing ‘Scintille diamant’ with considerable grace. Johansson’s big-voiced Hoffmann lacks a genuine pianissimo but phrases elegantly. Avemo sounds grainy when not in alt. Fredrich and Frenkel are nicely stylish. Debus can be very polished: playing and choral singing are both excellent. It doesn’t have the unsettling quality of Christoph Marthaler’s also flawed Madrid staging conducted by Sylvain Cambreling. John Schlesinger’s Royal Opera production is still your best bet if you want something more traditional.
Explore the world’s largest classical music catalogue on Apple Music Classical.
Included with an Apple Music subscription. Download now.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £9.20 / month
SubscribeGramophone Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £11.45 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.