FAUST – REVIEW OF 2024 CANADIAN OPERA COMPANY PRODUCTION

Reviewed by James Karas

Faust has had a happier relationship with the COC than Nabucco.  It was last produced by the COC in 2007 and it got seven performances that season.

If Faust had consulted a good lawyer, say Sir Thomas More, about the bargain he was making with the Devil, Mephistopheles, the man for all seasons no doubt would have said “why Doctor, it profits a man nothing to give his soul for the whole world, but for a woman.”  Faust sold his soul and did not get the whole world but did get some youth and the young and lovely Marguerite for a brief time. Not a great bargain for him but a huge boon for poets, playwrights and composers.

The COC production tries to capture the essence of the bargain and entertain us with some of the liveliest music on the subject. The production tries illustrating the theme in the detailed set by Emma Ryott and lighting by Charlie Morgan Jones. There are stairs leading up to heaven, I suppose, that also look like the backbone of a prehistoric animal. We have a projection of a human chest that looks like an enhanced x-ray so that you have to look at all its details to get the full picture and all the symbolism. I took their word for it. The church scene was different and starkly impressive.

Mephistopheles (Kyle Ketelsen), dressed in high hat and tails, is the essence of a gentleman. When he strikes the bargain with Faust, he asks him to sign a contract without any information about what is in it. Faust becomes young and able to seduce Marguerite (Guanqun Yu) but we only find out about that when we learn that she had a baby that she kills. We assume that Faust ends up in the place where the sun does not shine but we don’t learn much more about his faith. Marguerite is destroyed and gets a reconciliation scene with Faust but she has God on her side and does not join her lover in the “Other” Place where we assume he goes. She sings her two big arias beautifully.

Kyle Ketelsen, Long Long and Guanqun Yu in COC’s Faust. 
Photo: Michael Cooper

Director Amy Lane embellishes the plot by adding some characters. Mephistopheles is accompanied by two beautiful silent dancers dressed as if they work in a cabaret in Berlin in the 1920’s. They do not sing but they do look good. During the famous Jewel Song, the jewels are shown off by the dancers.

I admit that the familiar story as worked out by Gounod does not grab me but Gounod’s music does. I found a disconnect between the tragedy of Marguerite even if it is relieved by the choir of angels and the grace of God and the beautiful music and melodies. Where is Mephistopheles’ evil to make us cringe with horror?

I cannot complain about the singers. Kyle Ketelsen is a distinguished bass-baritone and he sang a swaggering Mephistopheles, not evil but a fine-voiced man-about-town accompanied by two lovely cabaret girls. Tenor Long Long gave us a well-sung Faust who, as far as we can tell, got Marguerite and, as I said, then destroyed her life. I still can’t figure out why Siebel, a man, is sung by a woman, the lovely-voiced mezzo-soprano Alex Hetherington. Baritone Szymon Mechlinski sings Valentin, Marguerite’s brother, who gets the sonorous and moving aria ‘Avant de quitter ces lieux’’ He bids farewell to his sister and entrusts her care to the Lord and goes off to war where he is killed.

One can argue about Gounod’s treatment of the Faust legend and the creaks of his famous opera but there can be no disagreement about the sumptuousness of his music. The melodic waltz, the Soldier’s Chorus, the beautiful Jewel Song and much more carry the opera and the audience with them. Conductor Johannes Debus conducts the Canadian Opera Company Orchestra and Chorus with superbly.

Amy Lane directs the production at its best and its creakiest and does her best under the circumstances. 
 __________________________
Faust by Charles Gounod, directed by Amy Lane, conducted by Johannes Debus ran until Nov. 2, 2024, at the Four-Seasons Centre for the Performing Arts, 145 Queen St. W. Toronto. For more information go to www.coc.ca

James Karas is the Senior Editor, Culture of The Greek Press 

NABUCCO – REVIEW OF 2024 CANADIAN OPERA COMPANY PRODUCTION

 Reviewed by James Karas

For its fall season the Canadian Opera Company has chosen Verdi’s Nabucco and Charles Gounod’s Faust. Both operas are reasonably well known but not exactly chestnuts. Faust was last produced by the COC in 2007 and it has never staged Nabucco before and even this time it offers a production from the Lyric Opera of Chicago. We are happy and grateful for it.

Nabucco has several distinctions, including that of being Verdi’s first great success and being an opera that may best be known for its famous chorus, “Va pensiero.”   A more dubious distinction may be that it has a soprano voice killer role of Abigaile for singers who take on the role while young, undisciplined and unmentored.

The role demands vocal range and prowess that very few sopranos possess. The number of singers who possessed those vocal qualities in the past century can be counted on your fingers so to suggest that Mary Elizabeth Williams, the COC’s Abigaile, does not fall in that category is not to diminish her abilities. She does give us Abigaile’s emotional conflicts, and her ambitions. She reaches vocal and emotional peaks but understandably cannot maintain them throughout. At 47 Williams is not young but she is disciplined enough in not attempting to sing at full throttle for the entire performance. I give her credit for her peaks and understand her care not to overdo it.

Roland Wood as Nabucco and Mary Elizabeth Williams as Abigaille 
in the COC’s production of Nabucco. Photo: Michael Cooper/COC

Baritone Roland Wood has a clarion voice that he unleashes for his performance as Nabucco. The king is arrogant, of course, then he loses it, then he regains his sanity and then he converts. That’s keeping the character and the singer very busy but Wood handles the role well. Mezzo soprano Rihab Chaieb plays the nice Fenena, Nabucco’s real daughter and she sings well and provides a contrast to the megalomaniac Abigaile. But she is not without problems. The nice Babylonian has fallen in love with Ismale (tenor Matthew Cairns), a Hebrew, whom she in fact helped him escape from captivity, and became a hostage of the Israelis. Cairns and bass Simon Lim as the Hebrew High Priest Zaccaria deserve kudos for their performances. Lim”s Zaccaria is a steadfast and sonorous leader who keeps the spirits of the Israelites in check under trying conditions.

Verdi paid special attention to the choruses and the dream of freedom of “Va pensiero” is only one of them. They vary from martial bravado, to fear, to expression of triumph. The  COC Chorus under the direction of Sandra Horst is simply outstanding. The COC Orchestra is conducted in exemplary fashion by Paolo Carignani.  

The sets by Michael Yeargan and the lighting by Mikael Kangas favour dark tones and spotlights. The Babylonian throne at the top of a staircase looks like a simple bench and we have the right to expect something more ostentatious. A few brightly lit scenes would help.  

The same observation applies to Director Katherine M. Carter, who may have had to face budget restrictions rather than failure of the imagination in some of her decisions. I feel that perhaps I am being churlish when I should be grateful and applauding loudly for a production that is highly laudable, of an opera opera that for all its shortcomings, deserves to be produced more frequently.

_____________________

Nabucco by Giuseppe Verdi (music) and Temistocle Solera (libretto) was performed seven times between October 4 and 29,  2024 at the Four Seasons Centre for the Performing Arts, 145 Queen St. West Toronto, Ont. www.coc.ca

James Karas is the Senior Editor, Culture of The Greek Press

THE STUDENT PRINCE - REVIEW OF 2024 TORONTO OPERETTA THEATRE PRODUCTION

 Reviewed by James Karas

Toronto Operetta Theatre offers its third production of Sigmund Romberg’s The Student Prince after a nine-year absence since its last showing. It is a creditworthy effort on the 100^th anniversary of the operetta’s opening. The 2015 production was performed five times but this year’s staging will get a paltry three showings. What is happening to operetta productions in Toronto these days? More below. 

The current production has some fine spots but also some hiccups that affect the overall enjoyment of the bright piece. The operetta is lively, often funny, and full of romantic, boisterous, melodious and wonderful songs. It is operetta as it should be.

We are in the country of Karsberg where the young and handsome heir to the throne Prince Karl Franz (Xavier Flory) is preparing to go to the University of Heidelberg to finish his studies. His future is laid out for him. He will become king upon the death of his elderly grandfather and will marry Princess Margaret (Minerva Lobato) to whom he is already betrothed.

He is accompanied by his bossy valet Lutz (Karen Bojti), his humane tutor Dr. Engel (Ryan Hofman) and will be visited by the Prime Minister von Mark (Sebastien Belcourt) when necessary. The Prince feels that he is under surveillance all the time.

But life as a student in Heidelberg proves to be a riot. At The Inn of the Three Golden Apples he meets other students including members of The Saxon Corps who drink, sing and lead a riotous life. The colorful Ruder (Sebastien Belcourt again) is the keeper of the inn and he has a toothsome and fetching niece called Kathie (Brooke Mitchell) who catches the Price’s heart. Between the members of the Corps and the staff of the Inn there are opportunities for student shenanigans and a serious bout of inebriation and entertainment for us.

Brooke Mitchell as Kathie (centre) and cast in The Student Prince
Photo: Gary Beechy / BOS Studios 

The Prince’s betrothed shows up at the inn with her snooty mother, Duchess Anastasia (Carrie Parks) but our hero is in love with Kathie and plans to elope with her. But the king dies and he is summoned to Karlsberg and the reality of having to become king. He does and his plans to elope with Kathie are unraveled. Princess Margaret is not too bad, he decides and it is time for  him to settle down and the audience to go home.

The original tenor became ill and had to be replaced on five days’ notice by Xavier Flory. Aside from some missteps, he does a fine job in the role especially considering the short time he had to learn the role.

There were several cast members who unfortunately did not enunciate to the point where we could not follow what they were saying.  Director Guillermo Silva-Marin  had some difficulty getting out all the humour of the operetta. Lutz, the students and some of the servants could have been used for more laughs which simply did not materialize. Silva-Marin usually interlopes jokes about current politics but this time there was only one about Justin Trudeau.

Kudos to conductor Christine Passmore who conducted the tiny orchestra and the action on the stage meticulously and enthusiastically.

What is happening to the production of operetta in Toronto? In the program, TOT describes itself as Canada’s lyric leader bringing classic operettas and related musicals to us. It is in its 40^th year and that is a major achievement. Credit is due to the tireless Silva-Marin who almost single-handedly manages to continue entertaining us despite some obvious financial issues.

The first operetta I saw was The Mikado in 1974 with the inimitable John Reed at Sadler’s Wells in London. I was hooked. Most European countries have productions of operettas as part of their cultural life. Why is it not catching on in Canada?

________________________

The Student Prince by Sigmund Romberg is being performed on November 1 ,2 and 3, 2024 at the Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27 Front Street East, Toronto, Ontario. Tel:  (416) 366-7723. www.stlc.com or www.torontooperetta.com

James Karas is the Senior Editor, Culture of The Greek Press

MY NAME IS LUCY BARTON - REVIEW OF 2024 CANADIAN STAGE PRODUCTION

Reviewed by James Karas

My Name Is Lucy Barton is an adaptation for the stage by Rona Munro of Elizabeth Strout’s novel. It is performed by a single actor and no review should start without giving credit to Maev Beaty for a bravura performance of a complex and long (1 hour and 40 minutes) script without an intermission and without a hitch. It is acting at its best.

This is a memory play and Lucy Barton’s recollections about her life come pouring out as she recovers in hospital from complications following an appendectomy. The first thing that struck me is the title of the play. She insists on telling us her name as if to make sure that we know who she is. She needs to establish her identity first rather than telling us that she will talk about her life or being a writer or any other angle that she may wish to examine. Why the insistence on her name?    

We meet Lucy Barton in the hospital where she is waking up after an operation. Her  appendectomy has become infected and what should have been a brief stay has extended to nine weeks in a New York hospital. Lucy finds her mother seated at the foot of her bed, nothing unusual in that, one would surmise. But she has not seen her mother for nine years and it becomes an important event. Lucy has complicated relations with her mother and almost everyone else that she meets and her mother’s visit begins the unraveling of Lucy’s life as she relates it to us.

She had an unhappy childhood with poverty and difficult, unaffectionate parents. but her mother overcame her fear of flying and is sitting at the end of Lucy’s hospital bed. Do the facts as told by Lucy reflect with reality?

Maev Beaty in My Name Is Lucy Barton. 

Photo: Dahlia Katz/Canadian Stage

The hospital room, the set that is by Michael Gianfrancesco  consists of a bed and a chair for the entire performance. He also designed elegant attire for Beaty. She moves around the stage and narrates part of her autobiography which covers her life from childhood to marriage, to children, divorce and her becoming a successful writer. She tells her story in a stream-of-consciousness style meaning that she tells us whatever comes to her mind without attempting chronological order or any other order that I could discern.

There are a few flashes of humour but Lucy tells us her story in a straightforward fashion that hides far more than it reveals. Her relationship with both her parents, her siblings and her children suggest that this is a dysfunctional family. Is this normal?  She shows very little emotion or histrionics about some very miserable parts of her life. She does love her children and expresses grief about the death of a gay friend from AIDS. She had not seen her mother for nine years and is pleased to see her? Back to her mother’s visit where the two women appear normal. Is it only on the surface? After her mother leaves the hospital, Lucy does not see her for nine years again. What is going on?

Lucy is advised to be ruthless and perhaps she is but her real motivation is to watch people it is that trait that makes her a writer and perhaps all the ups and downs of her life and all the strained relationships are merely a preparation for Lucy to become a writer. The reality behind what she tells us may be opaque because it may simply be the basis for her becoming a writer.

The simple set is supplemented with projected videos of waves in changing colours designed by Amelia Scott, lighting designed by Bonnie Beecher and sound by Jacob Li.

Jackie Maxwell once again displays her sensitivity and mastery in  directing a difficult play to perfection.
_________________________
My Name Is Lucy Barton adapted for the stage by Rona Munro from the novel by Elizabeth Strout continues until November 3, 2024, at the Bluma Appel Theatre, Toronto, Ontario. www.canstage.com

James Karas is the Senior Editor, Culture, of The Greek Press

ACIS AND GALATEA – REVIEW OF 2024 OPERA ATELIER EXQUISITE PRODUCTION

Reviewed by James Karas

Seeing Acis and Galatea by George Frideric Handel at the gorgeous Elgin Theatre in Toronto is like being handed a bouquet of gorgeous roses by a knight dressed in finery or a beautiful lady in an elegant gown.  It is a beautiful opera, a wonderful love story and in the hands of Opera Atelier’s  co-artistic directors Marshall Pynkoski  and Jeannette Lajeunesse Zingg it is much more than even that.

It was Handel’s first work in English and was first produced in 1718 and went through numerous changes but its 1732 version seems to have carried the day. There is no agreement as to what it is and it has been called a masque, a pastoral, a serenata and other names but who cares. In the hands of Pynkoski and Zingg it becomes an opera-ballet.

The work is based on Ovid’s Metamorphoses and involves the beautiful love of the mortal shepherd Acis (marvelous tenor Antonin Rondepierre) and the demi-goddess water nymph Galatea (superb soprano (Meghan Lindsay). Their pure love is suffused with sexual desire. The beauties of the plain of Arcadia are not enough to cool her love (i.e. sexual desire) and the singing birds “kindle fierce desire” in her. Acis is looking for her and imagines her bathing in crystal fountains. He sees love panting on her breast that swells with soft desire. This is beautiful orgasmic attraction.  

Acis and Galatea in 2024 Opera Atelier production. Photo: Bruce Zinger 

The Chorus (The Nathaniel Dett Chorale) steps in to announce Fate’s decree that Acis and Galatea’s love will not last. The cyclops Polyphemus (funny and resonant bass-baritone Douglas Williams) feels the same way about Galatea in an uncouth and barbaric way. We can descent to crude language with him – he is just horny. Damon (tenor Blaise Rantoanina)   pours cold water on human passion and even instructs Polyphemus on how to woo Galatea. 

Polyphemus does kill Acis and we hear some of the most beautiful grieving by the Chorus and Galatea. Acis is turned into a river god which provides some consolation to Galatea and immortality to her lover.

The arias, duets and recitatives are almost all accompanied by a dozen members of The Atelier Ballet corps dancing in their gorgeous gowns. The singing and music are beautiful enough but the dances, choreographed by Zingg are a significant, added pleasure That is why I say Acis and Galatea is an opera-ballet. The dancing like the singing is exquisite.  

Acis the shepherd wrongly tending goats instead of sheep! 

Photo: Bruce Zinger

Rondepierre and Lindsay sing with delicacy, erotic desire, and passion Douglas Williams  is played for laughs. He is a lumbering oaf with primitive sexual urges but manages to provide some laughs before the tragic end of Acis.

About twenty members of the Tafelmusik orchestra are crammed in what passes for a pit and conducted by Christopher Bagan. They produce all the beautiful sounds that Handel composed for them.

The set and costumes by Gerard Gauci enhance the beauty of the production and the result is a delightful night at the opera

Postscript I must add a comment about the opening scene. As the action is about to begin a bunch of goats go across the stge. Okay, they are not real but they have no business being there. Acis is a shepherd, a herder of sheep not of goats. In that case he would be a goatherd. Goats are usually found on mountains and not on the verdant plains of Arcadia where Acis and Galatea live and not, heaven forfend, near Mount Etna in Sicily. I state this with the authority of the only one in the audience who has first-hand experience as a (bad) sheep herder and suggest that in the future the faux pas must be corrected. 

__________

Acis and Galatea by George Frideric Handel, presented by Opera Atelier, played from October 24 to 27, 2024 at the Elgin Theatre, 189 Yonge Street, Toronto. www.operaatelier.com

James Karas is the Senior Editor, Culture of The Greek Press.

GROUNDED – REVIEW OF 2024 LIVE FROM THE MET PRODUCTION

Reviewed by James Karas

Grounded is a powerful new opera by Jeanine Tesori (music) and George Brant (libretto) that was commissioned and developed by The Metropolitan Operas. It is sung in English and deals with remote warfare by the U.S. Airforce. That makes it a quintessentially American product that gets a grand production by one of the greatest opera companies. The bonus for us is that it is brought to a movie theatre in our neighborhood, something that most of us could only dream of seeing live in New York.

It is a modern, high-tech production with videos and special effects that are dazzling. We learn and see how remote war occurs with a fighter pilot destroying terrorists in the Middle East from a seat in Las Vegas with deadly accuracy and the ability to see the body parts of the targets flying and the bloodshed.

The central character is a women called Jess (Emily D’Angelo) who becomes an extraordinary ace fighter pilot handling a conventional F16 plane in the sky. We are told that she is one of the very few women doing it but her mastery is undoubted.

The other side of the opera and Jess is her meeting a rancher, falling in love and having a baby girl. She leaves the Air Force to be with her child and returns after a five-years absence. In the meantime. the world has changed and she can carry one her duties as a fighter pilot from a chair in Las Vegas where with a Sensor (Kyle Miller) beside her, she will be called to destroy enemies on the ground in the Middle East.  One example is the sighting of an American convoy on the road and some people working on the road that appear to be enemies planting explosives. She must destroy them and save the lives of the Americans. She does. 

Ben Bliss as Eric, Lucy LoBue as Sam, and Emily D'Angelo as Jess.

 Photo: Ken Howard / Met Opera

We see Jess as a pilot under the control of the rough and ready Commander (Greer Grimsley). But we also see her with her husband Eric (Ben Bliss) taking care of their little girl Sam. Jess lives in two worlds, the fighter pilot killing people remotely and being unable to talk about it with her husband (it is classified), and her domestic life. the wife and mother in the idyllic ranch.

Jess’s two worlds are emphasized by the appearance of her “other” self simply called Also Jess (soprano Ellie Dehn).

These two worlds clash when Jess pursues the Serpent, presumably a terrorist leader. He is in a car going somewhere. She follows him and waits for him to step out of the car and confirm his identity before liquidating him. The car stops but the Serpent does not step out of it. Jess sees a little girl running to the car (her father?) and she is ordered to shoot. I  will not spoil the ending for you and you should really see the opera to get the full effect.

We are told that Tesori wrote the opera specifically for Torontonian Emily D’Angelo and the mezzo soprano delivers an unforgettable performance. We see her as a dedicated, fearless, outstanding fighter pilot that relishes the experience of flying the free world of the sky. We se her as a wife and lover in tender scenes with her husband and her daughter. The clash between the two worlds becomes heart-wrenching. D’Angelo presents outstanding acting and stunning singing. Her vocal prowess covers the gamut from the tender and loving wife/mother to the tough and ambitious pilot and perhaps killer. That is where her world becomes unraveled.

Tenor Ben Bliss looks and acts like a benign and loving rancher. He met a nice girl and brought her to his ranch knowing little about whom he married. He sings splendidly and his overall performance is excellent.

Baritone Kyle Miller is the Sensor, the man who sits beside Jess as the (cameraman?) (who gets) get information and orders about where she is to unleash the deadly power of the drones. When she first meets him, Jess asks him if he is twelve years old. He is not of course, but he does look like one and this has a comic side. He does well as such and as a competent Sensor and a very good singer

Bass-baritone Greer Grimsley is the heavy and stentorian Commander giving orders in an authoritative voice. You do not argue with the Commander as Air Force brass or Grimsley as a singer.

Jason H. Thompson and Kaitlyn Pietras are co-projection designers and their videos representing Air Force pilots and effects of drones releasing and unleashing bombs remotely are terrifying even in the comfort of a theatre.

There are vigorous dance routines choreographed by David Neumann and a kaleidoscope of special effects that dazzle the mind. This is no simple opera but a production that tested the limits of an opera company with the most resources in the field.

Michael Mayer directs the mind-boggling complexities of the production with a firm hand and mind-blowing imagination.     

Yannick Nézet-Séguin conducts the Met Orchestra in all the facets and complexities  of the score. It is almost impossible to absorb the music on a single hearing regardless of how impressive and enjoyable it is. Unlike familiar operas, I remember very little of the  music except that I enjoyed listening to it. Modern operas have the problem of needing to be produced or heard numerous times before they are put in the drawer and all but forgotten. How many of them have joined the standard repertoire? Grounded has an army of advantages. It deals with a current American subject; its characters are recognizable Americans and it is sung in comprehensible English. It may be a candidate for the standard repertoire but it is difficult to say how many opera companies have the resources to produce it on a regular basis.

In the meantime, seeing the Met production, live or on the screen is a good start. _______________________________
Grounded by Jeanine Tesori (music) and George Brant (libretto)was shown Live in HD from the Metropolitan Opera on October 19 , 2024 in various Cineplex theaters It will be reprised in encores starting from November 9,  2024, in various Cineplex theatres. For more information go to www.cineplex.com/events/

James Karas is the Senior Editor, Culture, of The Greek Press

LES CONTES D’HOFFMANN – REVIEW OF 2024 LIVE FROM THE MET PRODUCTION

Reviewed by James Karas

Live from the Met in HD is back with eight productions streamed directly from New York to a theatre near you. This year’s opener is Jacques Offenbach’s Les Contes d’Hoffman, a lavish and extraordinary revival of Bartlett Sher’s 2009 production. It has a cast of outstanding singers, and production values that only a handful of opera companies can dream of equaling. It is opera as we dream of seeing it. 

Les Contes d’Hoffman has some unique features that we don’t usually associate with grand opera. The hero, E.T.A. Hoffmann (Benjamin Bernheim) is a poet, a dreamer, a lover  and a romantic, an interesting combination but not the stuff of a classic opera hero. The opera itself has several aspects that take it out of the mold. We have good and evil opposing each other as if we are dealing with medieval themes. Offenbach was a great operetta composer and he has inserted scenes that are right out of that genre. Offenbach’s great music subsumes all these parts into a grand and thoroughly enjoyable opera and Sher takes advantage of them all on a grand scale.

Bernheimer gives an outstanding performance as the troubled, passionate Hoffman who soars vocally and suffers personally. He is lanky with tousled hair representing the romantic poet perfectly. A stunning performance.

Hoffmann has three great loves in Les Contes who are sometimes sung by one singer but) the roles are frequently shared by three as in this production. The opera starts with a Prologue that takes place in a bar and that provides the opportunity for hoopla, dancing, drinking and singing by the chorus of course. Sher takes advantage of that and provides superb entertainment in the process.

Hoffmann’s first great love is Olympia (soprano Erin Morley) a mechanical doll. Morley moves like a doll, needs to be wound up, sings the gorgeous “Les oiseaux dans la charmille” impeccably and dances. You may see elements of operetta here and marvel at  the dance routines by chronographer Dou Dou Huang. Alas, the mechanical doll will be trashed and Hoffmann allowed to see his second love. 

Erin Morley as Olympia, Benjamin Bernheim as Hoffmann, and 

Vasilisa Berzhanskaya (background) as Nicklausse. 

Photo: Karen Almond / Met Opera

Hoffmann moves from the mechanical doll to Antonia (the stupendous soprano Pretty Yende). It is a supremely ironic and tragic situation. Antonia has a marvelous voice inherited from her mother but she also has a weak heart and singing may kill her. She and Hoffmann sing a beautiful duet but the nasty Dr. Miracle convinces her to sing by magically bringing the voice of her dead mother (Eve Gigliotti). Antonia sings and dies.

From the tragic Antonia, Hofmann moves to Giulietta (mezzo soprano Clémentine Margaine), a Venetian courtesan. Courtesans do what they do but in this act, we move to the supernatural. Giulietta has stolen the shadow of her current lover Schlemil (Jeongcheol Chal) and the evil Dapertutto bribes her to steal Hoffmann’s reflection. She does and Hofmann loses his other self, kills Schlemil and is rejected by Giulietta. Margaine is dressed like a courtesan and sings robustly in the role.

Most of the singers play more than one role. I have mentioned two villains, Dr. Miracle and Dapertutto but there are in fact four with Lindorf and Coppelius. Those are juicy parts and bass-baritone Chistian Van Horn sings all of them with relish and marvelous resonance.

Tenor Aaron Blake takes on four roles, Andrés, Cochenille, Frantz and Pitichinaccio,   that are right out of operetta. Several other singers take two roles each.

Mezzo-soprano Vasilisa Berzhanskaya deserves special credit for her superb performance as Hofmann’s friend Nicklasse and as the Muse of Poetry. She is Hofmann’s companion and friend and tries to protect him. Berzhanskaya gives a steady, perfectly pitched performance that is a pleasure to watch and hear. For record keepers, note that this was her Met debut.   

For the theatricality of the production, credit goes and remains with Bartlett Sher and revival director Gina Lapinski. Set Designer Michael Yeargan, Costume Designer Catherine Zuber and Lighting Designer James F. Ingalls deserve kudos as part of the team that brought this outstanding production to life and to us.

And nothing less than a standing ovation will do for Conductor Marco Armiliato and the Met Orchestra and Chorus sine qua non.   
_______________________________
Les Contes d’Hoffman (The Tales of Hoffmann) by Jacques Offenbach was shown Live in HD from the Metropolitan Opera on October 5 , 2024. It will be reprised in encores starting from October 26, 2024, in various Cineplex theatres. For more information go to www.cineplex.com/events/
 James Karas is the Senior Editor, Culture, of The Greek Press