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Royal Ballet and Opera

Opera Australia

Teatro La Fenice

Opéra de Lyon

Stage director

Stage director (+3)

Damiano Michieletto

Set designer

Set designer (+1)

Paolo Fantin

Costume designer

Costume designer (+2)

Carla Teti

Lighting designer

Alessandro Carletti

Choreographer

Choreographer (+1)

Chiara Vecchi

Conductor

Conductor (+1)

Antonello Manacorda

Bass-baritone (+4)

Alex Esposito

Lindorf

Coppelius

Soprano (+1)

Olga Pudova

Olympia

Ermonela Jaho

Antonia

Soprano (+2)

Marina Costa-Jackson

Juliet

Mezzo-soprano (+3)

Julie Boulianne

Nicklausse

Dapertutto

Miracle

Tenor (+1)

Christophe Mortagne

Andrès

Cochineal

Frantz

Pitichinaccio

Tenor

Vincent Ordonneau

Spalanzani

Bass (+4)

Alastair Miles

Crespel

Mezzo-soprano (+6)

Christine Rice

La Muse

Voice of Antonia's mother/The voice from the grave

Bass-baritone (+5)

Jeremy White

Luther

Baritone (+2)

Grisha Martirosyan

Herman

Schlemil

Ryan Vaughan Davies

Nathaniel

Orchestra

Orchestra of the Royal Opera House

Chorusmaster

Chorusmaster (+2)

William Spaulding

Royal Opera House

Chorus

Royal Opera Chorus

Tenor (+7)

Juan Diego Flórez

Hoffmann

Tenor (+2)

Leonardo Caimi

Olivier award-winning director Damiano Michieletto (Carmen, Cavalleria rusticana/Pagliacci) returns to The Royal Opera for a new production of Offenbach’s The Tales of Hoffmann. Conductor Antonello Manacorda, with whom Michieletto previously collaborated on Carmen, leads Juan Diego Flórez and Leonardo Caimi, who share the role of the poet E.T.A. Hoffmann, Alex Esposito as the Four Villains, Julie Boulianne as Nicklausse and Ermonela Jaho, Olga Pudova and Marina Costa-Jackson as Hoffmann’s unforgettable trio of lovers.

POPULAR TUNES
Offenbach's best-known musical work may be the 'can-can', but The Tales of Hoffmann has its own fair share of popular tunes, including the lilting Bacarolle. Traditionally sung by Venetian gondoliers, Offenbach's take, ‘Belle nuit, ô nuit d’amour’ (Beautiful night, oh night of love), is a duet for soprano and mezzo-soprano, featuring the courtesan, Giulietta, and Hoffmann’s loyal companion, Nicklausse. Olympia’s Song is a dazzling showcase for the soprano voice at its most acrobatic. In the original opera libretto, she is a living doll who runs out of power part-way through her song, and requires ‘winding up’ to resume her performance.

Kuvia