Dutch National Opera presents

Les contes d’Hoffmann Jacques Offenbach (1819-1880)

DRUNKEN STUPOR OF A POET

Duration 3:40

Breaks 2

By Jacques Offenbach

Language French

Surtitles Dutch and English

Les contes d’Hoffmann is an ‘opéra fantastique’, in which the Romantic poet Hoffmann remembers the important women in his life in a drunken stupor. Reality and fantasy overlap in this masterpiece.

With regard to genre, Les contes d’Hoffmann is an ‘opéra comique’, i.e. it contains spoken dialogue alongside mainly sung texts. Dutch National Opera is making its own version, based on the available material.

Van ontwerp tot imposant decor

Les contes d’Hoffmann

Les contes d’Hoffmann has been on Dutch National Opera’s wish list for a long time. The title role requires an exceptional tenor, who we have found in the person of John Osborn. This opera provides a rare opportunity to present several leading ladies in one production. One very popular part of Les contes d’Hoffmann is ‘Belle nuit, ô nuit d’amour’, the sensual duet sung by the ladies Nicklausse and Giulietta in a Venetian gondola. Many years after Offenbach’s death, new sections of the score were discovered, which provides the opportunity to make choices.

Synopsis

Carlo Rizzi is conducting the Rotterdam Philharmonic Orchestra. John Osborn (most recently Arnold Melcthal in Guillaume Tell and the title role in Benvenuto Cellini) is Hoffmann. Many people have looked forward to the DNO debut of Erwin Schrott, who is singing the ‘Four villains’. In DNO’s version of Les contes d’Hoffmann, Olympia, Antonia and Giulietta are sung by three different sopranos.

Following his debut at the Münchner Akademietheater (Die sieben Todsünden, 2006), the young German director Tobias Kratzer has had an impressive career, with highlights like Rigoletto (Graz), Così fan tutte (Bayerische Staatsoper), Der Rosenkavalier and Tannhäuser (Bremen), Die Csárdásfurstin (Klagenfurt) and Die Meistersinger von Nürnberg (Karlsruhe). In 2019, a new Tannhäuser will be produced in Bayreuth.

Tobias Kratzer

Director

The German director TOBIAS KRATZER (director) studied art history and philosophy in Munich and Bern, and directing at the Theaterakademie August Everding in Munich. Along with designer Rainer Sellmaier, he won the Wettbewerb für Opernregie und Bühnenbild ‘Ring Award’ in Graz, in 2008. He has received nominations for an International Opera Award 2018, the Austrian Opernregiepreis, the German Faust Theatre Award and the title ‘best director’ by Opernwelt magazine.

CARLO RIZZI

Conductor

CARLO RIZZI (conductor) made his debut as a conductor with Donizetti’s L’ajo nell’imbarazzo in 1982, and was appointed Conductor Laureate with WNO, where he has conducted Fidelio, Peter Grimes, Salome, Don Carlo and Der fliegende Holländer.

 

The Orchestra

The Rotterdam Philharmonic Orchestra, one of the leading orchestras in the world, is distinguished by the intensity of its concerts, its colourful sound and the daring way it approaches its audience. The Rotterdam Philharmonic Orchestra was founded in 1918. The principal conductor is Yannick Nézet-Séguin. Recent DNO productions: Death in Venice, Faust, Benvenuto Cellini and Prince Igor. In 2018, the Rotterdam Philharmonic Orchestra will be performing Les contes d'Hoffmann.

Team, Cast and Chorus

Musical director 
Carlo Rizzi
Stage director 
Tobias Kratzer
Sets and costumes 
Rainer Sellmaier
Light 
Bernd Purkrabek
Dramaturgy 
Klaus Bertisch
Orchestra 
Rotterdam Philharmonic Orchestra
Chorus 
Chorus of Dutch National Opera
Rehearsal director 
Ching-Lien Wu
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 Luther 
Paul Gay
Peter Schlémil 
François Lis
Andrès/Cochenille/Frantz/Pittichinaccio 
Sunnyboy Dladla
Nathanaël 
Mark Omvlee
Hermann 
Frederik Bergman
Wilhelm 
Alexander de Jong - DNO talent
Le capitaine des Sbires 
Peter Arink

Holland Festival production

    Mon 13 Feb Trouw about John Osborn in Benvenuto Cellini, 2015

    ‘Beautiful tone and phrasing, with no problem at all in the high notes and fantastic breath control’.

    Mon 13 Feb Place de l’Opéra about John Osborn in Guillaume Tell, 2013

    ‘It was even more beautiful, refined and impressive than his previous performances. His voice seems to have become fuller and richer, and he succeeds in climbing the vocal heights – his home – with even more ease and conviction’.