A luscious feast for the eyes and ears, the eagerly awaited world premiere new production of The Tales of Hoffmann is as beautifully sung as it is inventively staged.
A co-production between Opera Australia, Royal Opera House Covent Garden, Opera National De Lyon, and Fondazione Teatro La Fenice Di Venezia, The Tales of Hoffmann is the latest accomplished work of art from ingenious director Damiano Michieletto. The sparkling creativity of Michieletto and his team is readily matched by the quality of the musical performance, making for a cohesive and highly entertaining evening.
As seen in earlier Opera Australia presentations Cavalleria Rusticana / Pagliacci and Il Viaggio a Reims, the spectacle of Michieletto’s innovative approach is perfectly complemented by his respect and knowledge for the original intentions of the composer and librettist. Bold strokes here include dancing rats during the tale of Kleinzach, The Muse delivering Nicklausse as a vibrant macaw, and the placement of living doll Olympia in a rowdy classroom.
Michieletto’s masterstroke, and the heart of the success of this production, is the reinvention of Antonia’s tale from that of an ailing singer whose mother was an operatic star to that of a crippled dancer whose mother was a ballet star.
Looking for all the world like Violetta on her death bed, Antonia lies in bed beside the family ballet studio, where a portrait of her mother and one of her famous tutus are on display. There is humour in the flouncy portrayal of Franz as a harried ballet instructor but the overall tone is serious and deeply moving.
A rich diorama comes to light behind the studio mirrors and the ghost of Antonia’s mother comes forth to dance again (Mia Sfara), her haunting vocals heard from offstage (Jennifer Black). Dr Miracle induces Antonia to dance again, and it must be noted that a death from dancing works more convincingly than a death from singing.
Antonia’s tragedy is one of the set of three tales, which play out like compelling episodes of hit Netflix anthology series Black Mirror. Opera Australia generously provides a complimentary 24-page colour program (a highlight of which is the generous inclusion of costume designer Carla Teti’s sketches), but there is no Director’s Note, and the traditional synopsis that is used does not match much of the action of this version. This leaves interpretation of the fantastical world on stage to the imagination of the audience; fortunately, there are an abundance of vivid images to fuel that imagination.
Set designer Paolo Fantin places each act in an orthogonal room with added balconies, mirrors, and skylights. Lighting designer Alessandro Carletti takes advantage of the pale pastel walls to cast heightened shadows, also working magic with two-way mirrors.
Costume designer Carla Teti moves from sparkling theatrical sprites and devils to complete naturalism for the men of the tavern, enthralled by Hoffmann’s tales. Teti has fun with old fashioned school uniforms and provides crisp classical tutus for the ballet-centred story. With the glamorous appearance of a 1960s chanteuse, The Muse is a lush vision in glittering absinthe-green wig, dress, and carpet bag. Each outfit for Hoffmann’s love interests is memorable, with Giulietta particularly striking with the glossy look of a 1980s soap opera vixen in gold lamé and big hair.
Michieletto adds six supernumerary dancers, choreographed by Chiara Vecchi, who frame and propel much of the fantastical action.
As the initial tavern scene dissolves to Olympia’s tale, the grey, dishevelled Hoffmann transforms back to a shy schoolboy with a crush on Olympia. More than just offering eyes and glasses, Coppelius brings a brain for the doll, which allows her to conjure an animated algebraic equation for the famous “Doll Aria,” pausing to make her calculations rather than to be rewound. As numbers begin to drop from overhead, the production makes one misfire in having the rambunctious schoolchildren move in a circuit around Olympia, their herd-like footsteps interfering with the glorious sound of a segment of this most iconic of arias.
Clearly not set in a Venetian palace, Giulietta’s tale brings sumptuous music with a relatively simple concept for the capture of Hoffmann’s reflection. Far less deadly than the plot outlined in the synopsis, the act nonetheless delivers further romantic drama.
Maestro Guillaume Tourniaire helms the Opera Australia Orchestra in a sensitively detailed performance of Offenbach’s richly melodious score. While there was a little tension in keeping time with the prestissimo sequences from the male chorus in the prologue on opening night, the musical performance was otherwise an absolute delight. Stage innovations aside, the production has clearly focused on ensuring that music is at a premium, optimising the opportunity to hear this delightful score.
In a towering performance that seems always destined to have been achieved, Jessica Pratt triumphs in the full suite of Hoffmann heroines. From the extended ovation for the soaring, meticulously controlled “Doll Aria” of Olympia, Pratt continues through the heartrending plight of Antonia, and on to the coquettish duplicity of Giulietta. Exquisite coloratura and stunning interpolated high notes are hallmarks of Pratt in peak form, the stunning musicality of her performance matched by the impact of her success in a range of acting styles, from mechanised doll to tragic dancer to kittenish vixen. This is a highly memorable performance to be treasured, talked about, and boasted over for having seen.
While the production could well have rested upon the quality of Pratt’s performance, the breadth of talent in the cast is what really sets the season apart.
Peruvian tenor Iván Ayón Rivas sings the role of Hoffmann with ardent, romantic tone, making for a stirring, yet gently understated, hero. Thrilling in solo work, when Rivas pairs with Pratt for “C’est une chanson d’amour,” the heady result threatens to lift the very roof.
Croatian bass baritone Marko Mimica makes a highly auspicious Australian debut as the four villains. Stamping his command in the role from the moment he first steps on stage, Mimica is an authoritative villain without a single moustache twirl in sight. Seizing audience attention with his first aria “Dans les rôles d’amoureux langoureux,” Mimica’s darkly burnished bass baritone pours forth with finely calibrated control and compelling vocal expression.
Brightly attired and often manipulating a puppet, a la The Lion King, prolific mezzo soprano Agnes Sarkis brings a merry warmth to Hoffmann’s feathered friend Nicklausse.
Accomplished mezzo soprano Sian Sharp brings polished charisma to The Muse, overseeing proceedings with a knowing twinkle. Sharp sings the epilogue’s “Renaîtra un poète! Je t’aime, Hoffmann! Sois à moi!” with characteristic warmth.
Of the many supporting roles, all excellently sung, David Parkin is a standout as Antonia’s tortured and torturous father Crespel. In the four servant roles, local tenor Adam Player is an especial treat as fey Franz.
Set to impress world audiences across three further international houses, The Tales of Hoffmann is a feather in the cap for Sydney Opera House. The sterling quality of the singers and orchestra elevate the production to must-see status.
The Tales of Hoffmann plays at Joan Sutherland Theatre, Sydney Opera House until 22 July 2023. For tickets, click here.
Photos: Keith Saunders