Bart Sher’s production of Offenbach’s valedictory masterpiece was telecast by the Met for the third time. The last time was in 2015. Each time it’s different. I’ll start with the opera’s ending. It has more versions than a politician’s biography. Today after what once was the end of a Met staging of The Tales of Hoffmann concluded, the Muse (more about her below) appeared as she’s supposed to and sang rather than spoke. Then everyone and I mean everyone – well the stagehands stayed away as union rules would have sent their pay for the afternoon to more than the leading tenor – came onstage and sang some nice music cobbled by I don’t know whom.
Sher’s staging remains a trip from interesting to vulgar. It’s Act 3 full of undulating upside-down female crotches that provides the vulgarity. The rest of the show looks like it was drawn from a circus of a century ago – apparently on purpose. But Offenbach’s trip to the fantastic is a masterpiece that can withstand any directorial assault provided it has the voices. Today it did, with a few minor qualifications.
The most important part is, of course, the title role. The French tenor Benjamin Bernheim brings style and grace to the poet who is unlucky in both love and cards. What he lacks is firepower. His finely crafted tenor is slender and lacks the volume needed to realize Hoffman’s more passionate outbursts. Until Act 3 his voice seemed muffled by the orchestra. Bernheim is a lyric tenor and Hoffman is frequently sung by this type of tenor. But I think the role is best realized by a spinto such as Richard Tucker or Plácido Domingo. Given the limits set by his voice, Bernheim did very well with the part.
This version of Hoffmann by Offenbach, et al enlarges what used to be a relatively minor part, Nicklausse, to one that’s almost as important as Hoffmann. The Russian mezzo Vasilisa Berzhanskaya, who made her role and Met debut in this run, was the dominant force of the entire production – both vocally and dramatically. She’s made her reputation in bel canto parts. Her range is so wide that she even sung the Queen of the Night.
The American bass-baritone Christian Van Horn was an effective villain times 4. He has a well-modulated voice that is not quite as rounded as might be and which on occasion is a little woolly, but he uses it well. His acting was effective and restrained as appropriate. Sher’s concept seems to be that Nicklausse and the four villains are opposite sides of Hoffman’s psyche. It’s a better idea than the upside-down women in Act 3. Regardless, Nicklausse is onstage more than Hoffman. She also opens the opera as the Muse which is the poet’s sidekick’s true identity.
Erin Morley was Olympia, the mechanical doll Hoffmann falls in love with, as she was on the 2015 telecast. “Les oiseaux dans la charmille”, a parody of the coloratura aria, was sung with virtuosic ease. Her robotic maneuvering during the piece was brilliantly conceived and executed.
Pretty Yende has been away from the Met since March of 2019. Her voice has lost much of its luster during those four and a half years. She did not make much of her duet with Hoffmann in Act 2 and did not convey the emotion built into the whole act. Incidentally, the Munich Act used to be the third one during the middle of the last century at the Met. I know Offenbach intended it to be the way the Met presented it, but as they’ve taken so much liberty with both the score and the libretto there’s no reason they couldn’t revert to their old order. I think the opera works best with the Munich scene coming last. Its emotional wallop is so on the mark that it’s felt last.
Clémentine Margaine has a big and rich mezzo. The beauty and power of her singing was evident from her first note. It’s a pity that her part is relatively small. She’s done a bunch of Carmens at the Met. Her casting her a nice touch of luxury.
Aaron Blake played the four comprimario roles. He hasn’t got the parts fully down and is a bit too young for them. He’s got a way to go to match Alessio De Paolois who did the role to perfection even after his voice was gone.
Maestro Marco Armiliato marked his 500th performance at the Met with this show. He led a vigorous and sensitive reading of Offenbach’s marvelous score. If he didn’t make me forget Pierre Monteux it is because no leader can.
The subtitle of the year. Nicklausse to Hoffmann: “I’ve got two horses saddled.” They are in Venice. Where are they going to go?
In summary, a very good performance of a great masterpiece. Worth going to the repeat if you missed today’s telecast.
Hoffmann……… Benjamin Bernheim
Olympia………. Erin Morley
Antonia/Stella………. Pretty Yende
Giulietta………. Clémentine Margaine
Lindorf/Coppélius/Dr. Miracle/Dapertutto………. Christian Van Horn
Nicklausse/Muse………. Vasilisa Berzhanskaya
Andrès/Cochenille/Frantz/Pitichinaccio………. Aaron Blake
Nathanael/Spalanzani………. Tony Stevenson
Luther/Crespel………. Bradley Garvin
Antonia’s Mother………. Eve Gigliotti
Hermann/Schlemil………. Jeongcheol Cha
Conductor……….. Marco Armiliato
Production………. Bartlett Sher
Set Designer……… Michael Yeargan
Costume Designer………. Catherine Zuber
Lighting Designer………. James F Ingalls
Choreographer………. Dou Dou Huang
