Kratzer’s Lucio Silla in Brussels let me cold, but I was looking forward to this new production of Les Contes d’Hoffmann. The setting is actually beautiful. It represents a section view of several rooms in a three-story building. The central and biggest room was Hoffman’s bedroom. All the other smaller rooms around it change from one act to the other. Nicklausse stays in the middle room almost for the entirety of the opera, and keeps singing from the middle room even when dialoguing with other characters. This was a bit irritating also because filling a whole opera by one’s presence convincingly was clearly difficult. In the Olympia-act the top room is a cage where young, eyeless girls are kept captive, sleeping on the floor. In a short gory scene one of the girls’ face (Olympia) is sliced open (in the kitchen) in order to insert her eyes. Dressed up, she is pushed in front of the guests. She is scared, and every now and again, during her Oiseux aria, she searches shelter in the arms of Cochenille, but Spalanzani keeps pushing her back in front of the audience like an animal in the circus. Whenever she sings the other captive girls wake up, stick their arms through the cages, as if hoping they might be saved. I must admit it was very impactful. The Giulietta act is more traditional with empty rooms in 18th/19th style and wallpaper. Giulietta and Hoffman actually never meet and they sing from different rooms. Giulietta and Dappertutto also rarely meet. In the scene where Dappertutto is supposed to question her while she is in her room they DO meet, together with Crespel, who’s interjections sound a bit absurd as he is not supposed to see his daughter (very silly the whole thing I thought). I actually hate these inconsistencies. In my opinion, you either re-interpret it completely, give it another, deeper meaning, or you leave it as it is. In this case Kratzer’s “being original” was so cringe-worthy in so many moments I felt like leaving.
Although the house is quite effective from a storytelling perspective, it has its limitations. First of all one cannot always see everything, only very centrally seated people can, otherwise the action is hidden due to the rooms being too small and deep. Secondly the acoustics is terrible. Once the singers turn their head slightly the sound and volume change. Vocally I thought the women were all wonderful. Jaho has an amazing beautiful, full bodied voice. Irene Robert’s Nicklaus was also very good though her voice got more brilliance in the higher register. Minasyan as Olympia had quite a beautiful timbre and was technically flawless. Christine Rice has a lush, luxurious voice which pairs excellently with the role of Giulietta. John Osborn is a singer I follow since I saw him Zurich’s Clari. He never disappointed me and also in Amsterdam his interpretation was spot on, his French excellent, his search for nuances impeccable. But I thought I missed expansion in his voice. The rooms’ acoustics again? I was not very impressed by Schrott, a bit distant character-wise and a bit too light for the evil characters but the comments from fellow listeners were overall favourable. Rizzi directs speedily and sometimes covers the voices, with only sporadic dramatic tension. .
Muzikale leiding-Carlo Rizzi, Regie-Tobias Kratzer, Decor en kostuums-Rainer Sellmaier, Licht-Bernd Purkrabek, Dramaturgie-Klaus Bertisch, Olympia-Nina Minasyan, Antonia-Ermonela Jaho, Giulietta-Christine Rice, La Muse-Irene Roberts, La Voix de la Tombe-Eva Kroon, Hoffmann-John Osborn, Lindorf/Coppelius/Le docteur Miracle/Le capitaine Dapertutto-Erwin Schrott, Spalanzani-Rodolphe Briand, Crespel/Maître LutherPaul Gay, Peter Schlémil-François Lis, Andrès/Cochenille/Frantz/Pittichinaccio-Sunnyboy Dladla, Nathanaël-Mark Omvlee, Hermann-Frederik Bergman, Wilhelm-Alexander de Jong – in het kader van DNO talent, Le capitaine des SbiresPeter Arink, 23/06/18, pictures from https://www.operaballet.nl/nl/opera/2017-2018/voorstelling/les-contes-d-hoffmann