Admin

Opernhaus Zürich

Direction d'orchestre

Direction d'orchestre (+2)

Antonino Fogliani

Mise en scène

Mise en scène (+2)

Andreas Homoki

Décors

Décors (+2)

Wolfgang Gussmann

Costumes

Costumes (+2)

Susana Mendoza

Assistante scénographe

Thomas Bruner

Lumières

Lumières (+3)

Franck Evin

Direction de choeur

Direction d'orchestre (+14)

Janko Kastelic

Dramaturge

Beate Breidenbach

Ténor (+1)

Saimir Pirgu

Hoffmann

Mezzo-soprano (+4)

Marina Viotti

Nicklausse / La Muse

La Muse

Soprano (+4)

Katrina Galka

Olympia

Soprano (+1)

Adriana González

Antonia

Lauren Fagan

Giulietta

Maria Stella Maurizi

Stella

Baryton-basse (+3)

Andrew Foster-Williams

Lindorf

Coppélius

Miracle

Dapertutto

Ténor (+3)

Nathan Haller

Andrès

Cochenille

Frantz

Pitichinaccio

Basse (+3)

Valeriy Murga

Luther

Ténor

Christopher Willoughby

Nathanaël

Maximilian Lawrie

Wolfram

Daniel Norman

Spalanzani

Basse (+4)

Stanislav Vorobyov

Crespel

Mezzo-soprano (+2)

Judith Schmid

La Voix de la Mère d'Antonia

Orchestra

The Orchester der Oper Zürich

Opernhaus

Chorus

Chor der Oper Zürich

Extras

Statistenverein am Opernhaus Zürich

Baryton (+2)

Steffan Lloyd Owen

Hermann

Basse (+2)

Lobel Barun

Wilhelm

Baryton-basse (+4)

Samson Setu

Schlémil

Le Capitaine des Sbirres

Basse (+1)

Max Bell

In his final opera, Jacques Offenbach made E.T.A. Hoffmann, the most famous poet of the Romantic period, into his main character. The poet explores the threshold between reality and fantasy in a fascinating way in his magical-surreal tales. The opera masterfully combines operetta, sentimental opéra comique and romantic-fantastic opera. Original melodic inventions merge with gripping drama and, of course, Offenbach’s subtle irony interrupts his main character’s rapturous states.
Hoffmann, the poet, is torn between art and life, love and fantasy, dream and reality. His love for Stella, the singer, remains unrequited, and he takes refuge in alcohol and the world of his imagination. Over the course of a wine-soaked evening, he tells his friends of three fantastical love affairs. Olympia, the immaculate beauty he fell head over heels in love with – only to discover that the woman he so desperately wanted was a doll. Antonia, who was consumed by feverish song and died in Hoffmann’s arms. And Giulietta, the Venetian courtesan, who swore him undying love and seduced him, all with the singular goal of stealing his reflection. Each time, Hoffmann failed – himself, in love, and against his diabolical adversary.
The premiere of this staging by Andreas Homoki took place online in the spring of 2021, due to coronavirus pandemic; this season the production finally bows on stage before an audience. Saimir Pirgu made a convincing debut in the title role, and he returns as Hoffmann in this revival. As at the premiere, Italian conductor Antonino Fogliani is at the podium of the Philharmonia Zürich.

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