Tales Of Hoffmann The Opera Synopsis Prologue Act One

The libretto was written by Jules Barbier , based on the tales of E.T.A. Hoffmann. It was first performed in Paris in 1881. It incorporates three short stories by Hoffmann, a prolific German writer and composer of the romantic era. E.T.A. Hoffman himself is a character in the opera just as he often is in his stories. The stories upon which the opera is based are Der Sandmann, Rath Krespel, and Das verlorene Spiegelbild.

Tales of Hoffmann is part of the standard operatic repertoire. There are a several recordings of it, and it is regularly performed.

1 The Opera

The opera contains a prologue, three acts and an epilogue. Offenbach did not live to see its opera performed, for he died on 5th October 1880, missing the opening night of his opera by just over 4 months. Before his death, Offenbach had completed the piano score and orchestrated the prologue and the first act. Unfortunately, the fact that he did not entirely finish the writing, led to the emergence of many different versions of this opera, some bearing little resemblance to the original work, being for example full of music he did not write. The main modifications often encountered :

2 Synopsis

2.1 Prologue

A tavern in Nuremberg. The Muse appears and reveals to the audience her purpose to draw Hoffmann's attention to herself, and to make him abjure all other loves, so he can be devoted fully to her : poetry. She takes the appearance of Hoffmann's closest friend, Niklausse. The prima donna Stella, currently performing Mozart's Don Giovanni sends a letter to Hoffmann, requesting a meeting in her dressing room after the performance. The letter, and the key to the room, is intercepted by the Councillor Lindorf, who is the first incarnation of evil; Hoffmann's Nemesis. Lindorf intends to replace Hoffmann at the rendezvous. In the tavern students are waiting for Hoffmann. He finally arrives and entertain them with the legend of Kleinzach the dwarf, and his coaxed by Lindorf into telling the audience about his life's three great loves.

2.2 Act One

Hoffmann's first love is Olympia, an automaton created by the scientist Spalanzani. Coppélius, Olympia's co-maker and this act's evil incarnation, sells Hoffmann magic glasses which make Olympia appear as a real woman. Hoffmann is tricked into believing his affections are returned, to the bemusement of Niklausse, who subtly tries to warn his friend. While dancing with Olympia, Hoffmann falls on the ground and his glasses break. At the same time, Coppélius appears and tear Olympia apart, in retaliation for having been tricked out of his just dues by Spalanzani. In the middle of the crowd laughing at him, Hoffmann realizes that he was in love with an automaton.

2.3 Act Two

After a long search, Hoffmann finds the house where Crespel and his daughter Antonia are hiding. Hoffmann and Antonia loved each other, but were separated when Crespel decided to hide his daughter from Hoffmann. Antonia has inherited her mother's talent and voice, but her father forbids her to sing on account of the mysterious illness she is suffering from. He also forbids her to see Hoffmann, who is encouraging Antonia in her musical carreer, and is therefore a danger for her without knowing it. But when Crespel leaves his house, Hoffmann takes advantage of the occasion to sneak into the house, and the lovers are re-united. When Crespel comes back, he receives the visit of Dr Miracle (this act's evil incarnation), who forces Crespel to let him heal Antonia. Still in the house, Hoffmann listens to the conversation and learns that Antonia may die if she sings too much. He returns to her room to make her promise to give up her artistic dreams. Antonia reluctantly accepts her lover's will. Once she is alone, Dr Miracle enters Antonia's room and try to persuade her to sing and to follow her mother's path to glory, stating that Hoffmann is sacrificing her to his brutishness and loves her only for her beauty. Having some mystic powers, he raises a vision of Antonia's dead mother and induces her to sing to death. Crespel arrives just in time to witness his daughter last breath. Hoffmann enters the room and Crespel wants to kill him, thinking that he is responsible for his daughter's death. Nicklausse saves his friend from the old man's vengeance.

2.4 Act Three

Venice. Hoffmann falls in love with the courtesan Giulietta and thinks his affections are returned. But Giulietta is seducing Hoffmann under the orders of Captain Dapertutto, who promised to give her a diamond if she filches Hoffmann's reflection from a mirror. Schlemil, a previous victim of Giulietta and Dapertutto (he gave Giulietta his shadow) wants to save Hoffmann from his foolish passion for the courtesan by killing him. He challenges the poet in a duel, but is killed. Niklausse wants to take Hoffmann away from Venice to save his friends and goes looking for horses. Meanwhile, Hoffmann meets Giulietta and cannot resist to her desire : he gives her his reflection, only to be abandoned to his distress by the coutesan, to Dapertutto's great pleasure. Hoffmann tells the evil man that his friend Niklausse will come and save him. Dapertutto prepares a poison to get rid of Niklausse, but Giulietta drinks it by mistake and drops dead in the arms of the poet.

2.5 Epilogue

The tavern in Nuremberg. Hoffmann, drunk, swears he will never ever love again, and explains that Olympia, Antonia, and Giulietta are three facets of a same person, Stella, representing respectively the young girl's, the musician's and the courtesan's side of the prima donna. When Hoffmann says he doesn't want to love anymore, Niklausse reveals himself as the Muse and reclaims Hoffmann : "Be reborn a poet! I love you, Hoffmann! Be mine!" The magic of poetry reaches Hoffmann's limb : "Beloved Muse, I am yours". At this moment, Stella, who is tired to wait for Hoffmann to come to her rendezvous, enters the tavern and finds Hoffmann drunk to death. The poet tells her to leave ("Farewell, I will not follow you, phantom, spectre of the past"), and Lindorf, who was waiting in the shadow, comes forth. Niklausse explains Stella that Hoffmann does not love her anymore, but that the councillor Lindorf is waiting for her. Some students enter the room for more drinking, while Stella and Lindorf leave together.

3 External Links

"BARCAROLA" FROM "Tales of Hoffman" BY THE ACCORDION PLAYER R. LIRAZ

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