Offenbach’s masterpiece was telecast for the second time by the Met in its HD series. The first broadcast was December 19, 2009 with Joseph Calleja in the title role. This afternoon Vittorio Grigolo had the lead part. Bart Sher’s production was modified from its earlier incarnation, mostly for the better. The lights were turned on this time around so that the viewer could actually see what was happening onstage. While there was still no portrait of Antonia’s mother in the second act, the “Mother’s Voice” came from a singer (Olesya Petrova) who appeared in costume on the stage. There were  several other changes made by stage director Gina Lapinski. Despite these alterations the Venetian act remains terminally vulgar. I know vulgar is passé, but so am I – thus the judgement stands. There is still so much happening onstage that 20 barrels of monkeys would barely suffice.

There was more music than typically heard in a performance of Hoffmann, more even than in this production’s ’09 performance under James Levine’s direction. This was especially true in the first scene of the first act.

Vittorio Grigolo as Hoffmann

Vittorio Grigolo as Hoffmann

Hoffmann makes great demands on the tenor who sing eponymous part. While lyric tenors like Alfredo Kraus have been very successful as Hoffmann, I prefer a spinto in the role. Richard Tucker was the first Hoffmann I heard in performance and is still the best followed closely by Placido Domingo. Vittorio Grigolo is a lyric tenor. He is good looking, acts with convictions, and conveys Hoffmann’s confusion with life. His voice, while appealing, is not well focused. There’s a buzz in its middle which spreads and becomes very open the louder he sings. His is a voice not built to last.

The four villains were sung by veteran Thomas Hampson who is almost 60 and sounds like it. His voice is drier and huskier than when he was in his prime. Never a convincing actor he confused mugging with menace. His voice even at its best was never right for these parts which, in my opinion, sound better when sung by a bass-baritone. George London was the best villain(s) I ever heard.

Erin Morely is a 2010 graduate of the Met’s Lindemann Young Artist development Program. The coloratura soprano was Olympia, Hoffmann’s mechanical girlfriend. She acted a robot very convincingly. Her singing, which took her to near dog whistle territory, had a lot of squeaks in it, a term she used herself when interviewed during an intermission.

Kate Lindsey NicklausseHibla Gerzmava is an Abkhazian/Russian soprano who made her Met debut in this opera in 2010. She has also sung in La Boheme (Mimi) and Turandot (Liù) at the New York house. She sang Antonia. Ms Gerzmava has a pleasant lyric soprano that struggles in its upper register. Her acting skills are rudimentary.

There’s not too much you can do with Giulietta. Christine Rice, a British mezzo, got about as much out of the part as is possible. But the role is very small. The poor working girl doesn’t even get an aria.

The four comprimario roles were well sung and acted by Tony Stevenson. David Pittsinger was particularly good as both Luther and Crespel.

The trouser role of Nicklausse, Hoffmann’s friend, is greatly expanded in Sher’s interpretation of this opera. Nicklausse and Hoffman’s muse, who is often absent from stagings of Hoffmann, are combined. Her role is very ambiguous in this production. It’s hard to tell if she’s for or against Hoffmann.  She wants him to forgo women in favor of art. Well, the two are not mutually exclusive as she seems to think.

Extra music was found for Lindsey to sing and the part so expanded that it becomes very important rather than just another pants part. Lindsey has a very well produced lyric mezzo which she uses to great effect. She is a fine actress and is equally attractive. Hers was the best all around performance of the show. In a big house like the Met she will not get the big juicy mezzo parts like Carmen or Eboli, but in roles that need style and grace she’ll be hard to beat. A fine artist.

Yves Abel lead the Met’s great orchestra with elan. Donald Palumbo’s chorus sang like the great chorus they are even if Sher’s production makes them do a lot of goofy things. Barbara Willis Sweete’s video direction was appropriately unobtrusive.  The Met’s TV team seems to have figured out how to cover a live opera. It’s taken them more than five years to solve what should have been a simple technical issue, ie don’t get too close. But they finally seem to have gotten it right.

In summary, a good performance of a great opera. It’s almost impossible to assemble a cast that can do justice to all the opera’s principal roles. So a good performance as likely to be as good as it gets.

 

 

LES CONTES D’HOFFMANN
Jacques Offenbach-Jules Barbier

Hoffmann…………….Vittorio Grigolo
Olympia……………..Erin Morley
Giulietta……………Christine Rice
Antonia……………..Hibla Gerzmava
Stella………………Hibla Gerzmava
Lindorf……………..Thomas Hampson
Coppélius……………Thomas Hampson
Dappertutto………….Thomas Hampson
Dr. Miracle………….Thomas Hampson
Nicklausse…………..Kate Lindsey
Muse………………..Kate Lindsey
Andrès………………Tony Stevenson
Cochenille…………..Tony Stevenson
Pitichinaccio………..Tony Stevenson
Frantz………………Tony Stevenson
Luther………………David Pittsinger
Nathanael……………Dennis Petersen
Hermann……………..David Crawford
Spalanzani…………..Dennis Petersen
Schlemil…………….David Crawford
Crespel……………..David Pittsinger
Mother’s Voice……….Olesya Petrova

Conductor……………Yves Abel

Production…………..Bartlett Sher
Set Designer…………Michael Yeargan
Costume Designer……..Catherine Zuber
Lighting Designer…….James F. Ingalls
Choreographer………..Dou Dou Huang
Stage Director……….Gina Lapinski
TV Director………….Barbara Willis Sweete