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Royal Ballet and Opera

Opera Australia

Teatro La Fenice

Opéra de Lyon

Mise en scène

Mise en scène (+3)

Damiano Michieletto

Décors

Décors (+1)

Paolo Fantin

Costumes

Costumes (+2)

Carla Teti

Lumières

Alessandro Carletti

Chorégraphie

Chorégraphie (+1)

Chiara Vecchi

Direction d'orchestre

Direction d'orchestre (+1)

Antonello Manacorda

Baryton-basse (+4)

Alex Esposito

Lindorf

Coppélius

Soprano (+1)

Olga Pudova

Olympia

Ermonela Jaho

Antonia

Soprano (+2)

Marina Costa-Jackson

Giulietta

Mezzo-soprano (+3)

Julie Boulianne

Nicklausse / La Muse

Dapertutto

Miracle

Ténor (+1)

Christophe Mortagne

Andrès

Cochenille

Frantz

Pitichinaccio

Ténor

Vincent Ordonneau

Spalanzani

Basse (+4)

Alastair Miles

Crespel

Mezzo-soprano (+6)

Christine Rice

La Muse

La Voix de la Mère d'Antonia

Baryton-basse (+5)

Jeremy White

Luther

Baryton (+2)

Grisha Martirosyan

Hermann

Schlémil

Ryan Vaughan Davies

Nathanaël

Orchestra

Orchestra of the Royal Opera House

Direction de choeur

Direction de choeur (+2)

William Spaulding

Royal Opera House

Chorus

Chorus of the Royal Opera House

Ténor (+7)

Juan Diego Flórez

Hoffmann

Ténor (+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.

Critiques