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Royal Ballet and Opera

Opera Australia

Teatro La Fenice

Opéra de Lyon

Regie

Regie (+3)

Damiano Michieletto

Bühnenbild

Bühnenbild (+1)

Paolo Fantin

Kostümbild

Kostümbild (+2)

Carla Teti

Lichtgestaltung

Alessandro Carletti

Choreographie

Choreographie (+1)

Chiara Vecchi

Dirigent

Dirigent (+1)

Antonello Manacorda

Bass-Bariton (+4)

Alex Esposito

Lindorf

Coppélius

Sopran (+1)

Olga Pudova

Olympia

Ermonela Jaho

Antonia

Sopran (+2)

Marina Costa-Jackson

Giulietta

Mezzosopran (+3)

Julie Boulianne

Die Muse / Nicklausse

Dapertutto

Dr. Miracle

Tenor (+1)

Christophe Mortagne

Andrès

Cochenille

Frantz

Pitichinaccio

Tenor

Vincent Ordonneau

Spalanzani

Bass (+4)

Alastair Miles

Crespel

Mezzosopran (+6)

Christine Rice

La Muse

Stimme von Antonias Mutter

Bass-Bariton (+5)

Jeremy White

Luther

Bariton (+2)

Grisha Martirosyan

Hermann

Schlemil

Ryan Vaughan Davies

Nathanaël

Orchestra

Orchestra of the Royal Opera House

Chordirektion

Chordirektion (+2)

William Spaulding

Royal Opera House

Chorus

Chorus of the Royal Opera House

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.

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