Hoffmann (Max Jota, centre) is led on by Coppelius (Johannes Schwarsky) |
Hoffmann – Max Jota
Muse/Nicklausse/Voice – Susanne Seefing
Lindorf/Coppélius/Dr Miracle/Dappertutto –
Johannes Schwärsky
Andrès/Cochenille/Frantz/Pittichinaccio – James
Park
Olympia – Amelie Müller
Antonia – Izabela Matula
Giulietta – Janet Bartolova
Stella – Margriet Schlössels
Crespel/Luther – Matthias Wippich
Hermann/Spalanzani/Schlemil – Andrew Nolen
Nathanael – Sun Myung Kim
Chorus of Theater Krefeld-Mönchengladbach
Lower Rhine Symphony Orchestra (Niederrheinische
Sinfoniker)
Conductor – Andreas Fellner
Director – Hinrich Horstkotte
Designer – Hinrich Horstkotte
Dramaturge – Andreas Wendholz
Olympia (Sophie Witte in this picture) sings, accompanied by two of Spalanzani's other creations, as Spalanzani himself (Andrew Nolan) looks on |
It’s rare to see a traditional production of an
opera in Germany these days, with period costumes and a realistic
setting, so it is perhaps ironic that it should be found in a
presentation of a work as open to imaginative fantasy as Offenbach’s
Tales of Hoffmann (or
Hoffmanns Erzählungen,
as rendered into German – this performance was sung in the original
French). But no Met-like museum culture here – there’s no
shortage of freshness or ingenuity in Hinrich Horstkotte’s staging
for Theater Mönchengladbach, which premiered in November 2014 and
moves to its sister theatre in Krefeld in the 2015–16 season.
Horstkotte’s basic single set services for all the scenes of the
opera, with quick transformations from Luther’s inn into
Spalanzani's eye-popping workshop and with the walls literally
slumping to an angle upon arrival of the action in debauched Venice.
Setting, then, is firmly in period, though additional 19th-century
fiction is also drawn upon with Spalanzani recast as the creator of
Frankenstein’s monster as well as his wind-up ‘daughter’. There
is an atmosphere of Gothic horror to the whole that presents
Offenbach’s fantasy worlds with wit and humour – Dr Miracle’s
‘haunting’ of Antonia through the walls of the room proved
particularly effective in this respect.
Despite the presence of guest artists, this felt
very much a company effort, with ensemble regulars and participants
of the theatre’s studio scheme playing major roles, no more
successfully than Amelie Müller’s exquisitely sung and acted
Olympia. Brazilian guest Max Jota, a Latin tenor to the core, was a
charismatic Hoffmann, though his tendency to sing sharp – as much
as by a whole tone in some of his ‘Kleinzach’ song – was an
unfortunate constant, and seemed as much a consequence of his
exuberance as an actor as one of vocal control per se. (This was his
last performance in the run and, over-obvious self-congratulation
apart, he appeared quite emotional at the curtain calls, at one point
kneeling to kiss the stage.) As Hoffmann’s sidekick Nicklausse (and
in the framing scenes his Muse), Susanne Seefing began a little
uncertainly, but her vocal security firmed up through the evening
into a performance of ebullience and quick-wittedness. Izabela
Matula’s Antonio was warmly and sympathetically sung with a steady
and resonant tone that belied the character’s supposed frailty but
was welcome nonetheless. Janet Bartolova’s Giuletta, though, was a
bit wobbly for my taste, though she acted the role of the Venetian
courtesan with panache, and Johannes Schwärsky’s collection of
villains was vividly and menacingly portrayed if a little constricted
in tonal variety. Andreas Fellner conducted Offenbach’s tuneful
score with flair and the chorus and cast of smaller roles performed
well-honed characters with imagination and enthusiasm – a true
company achievement.
Further performances 27 March, 25 April. Theater Krefeld-Monchengladbach
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