[.ca] Tales Of Hoffmann Comp

From Amazon.com:
This is the first of many recordings that attempts to return this opera--which the composer left unfinished at his death--to something more in line with what he envisioned. While it may work in the theater, it seems fitful on record, particularly with spoken dialogue. The cast, with Plácido Domingo in the title role and Joan Sutherland playing all three heroines in the flashbacks, has long made this recording a first-choice Hoffmann among some critics. But Domingo lacks the ideal vocal elegance, and having three different personalities as the heroines can be much more interesting. This recording does have some famous French character singers in its favor--Hugues Cuénod and Gabriel Bacquier--but this may be mostly for Sutherland fans. --David Patrick Stearns

essential recording:
This Hoffman is my favorite French opera. It features two of the greatest singers in their divine prime, Sutherland and Domingo. Wow, what a glorious sound they make. And what a tour de force they manage to accomplish. The Sill's version is also very good. But it is tame next to this one. The singing is just not nearly as glorious. Compare Sill's Olympia especially is evidence that she is not nearly the quintessential coloratura as Sutherland. Sutherland's "Doll Song" is amazing. Its display of coloratura is unprecedented and incomparable. Domingo's vocal splendor is equally phenomenal. This is an essential recording. No opera collection is complete without it.

Not The Best Tales Of Hoffman, But An Operatic Showcase:
Joan Sutherland and her husband-conductor, Richard Bonynge, were a duo who brought opera to a new stage. The Tales Of Hoffman is the most edited, most revised and refined opera musically and dramatically. The French opera was Jacques Offenbach's final piece, and his greatest, undoubtedly. He wanted one final serious opera for the world to remember him by, apart from already popular operettas, Can-Can dances and satirical comedies on the French Second Empire. After his death, a load of revisions were made to suit public tastes, and very rarely is there a truly unified version that Offenbach had envisioned. Because he died before the opera was completed, Offenbach composed only the prologue and first act. The Barcarolle, which is the most romantic and famous segment, derived from another operetta, as so did other portions of the opera (the Brindisi in the Venice Act, and the opening melody to the Dr. Miracle/Antonia/Antonia's Mother's Ghost trio in the Antonia Act). The rest Offenbach had written for piano, to be later arranged for orchestra. Richard Bonynge is clearly the genius at work in this opera. I am not a Joan Sutherland fan. I tend to find her voice (albeit beautiful from an audial stance and in her lyric singing), lacking depth, emotion and drama. Rather than singing EXPRESSIVE coloratura, she merely sings her coloratura trills and embellishments simply as pretty showpieces, an opportunity for her to show off vocally. She does not sing DRAMATICALLY, either. There is no drama in her vocal inflection, no susbstance. She took what she got from her libretto and text, and instead of fully embracing the artistic value of the soprano voice, she neglected drama and expression. Placido Domingo sings Hoffman very well. The French diction poses no problem to his Italian-style, he combines warmth, masculinity and romantic despair to his persona. He is Hoffman, in many ways, and he should be the only reason why anyone should get this particular recording. In an opera where the soprano must clearly outshine, or at least be at paar with the tenor, he breaks all the rules. Domingo is superior than Sutherland dramatically and expressively. What attracts most Joan Sutherland fans is the "beauty" in her voice. Because beauty is such a broad and varied thing, not every "voice" appeals to everyone. For me, Joan Sutherland's instrument could be compared to a lush dessert, taken without first having eaten a proper and nutritious meal. I think, personally, that Joan Sutherland is more like Maria Callas in the sense of being a diva, and impressing a wide range of audiences with performances that were sold-out headlines. She might have been driven by a desire to either imitate Maria Callas or to be her worthy successor. Callas, at least, for her own vocal weaknesses, was a great actress. A great soprano must embody drama, expression and vocal brilliance. It's rare to find a soprano, or tenor, for that matter, who can sing and act in unison. Without casting too much negative commentary, this opera is good to hear, for novices, and for those who are fond of French opera. The attention to the score and the music is quite good, and Richard Bonynge is to be credited. This, in fact, is his finest opera he ever conducted. As for the bass singing the roles of the villains (Coppelius, Dappertuto and Dr. Miracle) he truly expresses his evil very effectively and dramatically, a polar opposite to Hoffman (Domingo) and his hopeless romantic persona. But do not get this recording for Joan Sutherland's performance, unless you are a fan. For a great soprano singing the three heroines, go for Beverly Sills, who sings perfectly and acts with incredible conviction. In addition to that sings the "trouser" mezzo soprano role of Nicklause in the recording with the Westminster Legacy label. She is in fact singing four roles in one single opera, and that makes her the best.

Loved it Loved it:
This recording was wonderful - Crystal clear sound and lovely soloists. It really brought out the flavor and humor of the opera.

FANTASTIC!:
I can`t think of any other records of this enthralling opera by Offenbach, that is, in its ENTIRETY, better than this version. It has it all: beauty, humor,drama etc. And this is comming out in such a brilliant way here, so you`ll get totaly thrilled. Especially Domingo is enormous, maybe unsurpassed in this role and Sutherland unbelievable in all her different characters. Go for it!

A Theatrical HOFFMANN:
This recording of Offenbach's masterpiece is a delight from start to finish. The role of Hoffmann has been a Placido Domingo specialty for decades. This recording came early in his career, and it is interesting to hear how, even at this early stage, his characteristic approach to the role was already in place. It is also a great pleasure to be able to hear Domingo's voice at its absolute freshest. (For his definitive Hoffmann, however, check out the Covent Garden video that was recorded in 1981.) I completely disagree with the previous reviewer who finds Joan Sutherland's singing undramatic. In Olympia's song, Sutherland is not just "showing off vocally," she is using her extraordinary coloratura ability to depict a doll that keeps winding down. Listen attentively and you'll hear this. Listen also to how sensuous Sutherland's tone is in the Giulietta act, and how, as Antonia, her voice "dazzles" as she sings "Quelle flamme eblouit mes yeux?" -- What fire is dazzling my eyes?". On the evidence of this recording (and of many others, I might add), Sutherland was a singer who knew how to convey drama through the sound of her voice. (And she is at her most dramatic in the dialogue here!). Gabriel Bacquier characterizes well as the four villians, although I could imagine a more vocally brilliant rendition of Dappertutto's "Diamond Aria." Richard Bonynge leads the excellent orchestra with a light and humorous touch. The recorded sound is spacious, detailed, and crystal-clear, creating a very theatrical atmostphere.

• Prologue: 'Glou! glou! glou! je suis le vin!'
• Prologue: 'Dans les roles d'amoureux langoureux'
• Prologue: 'Allons, allons mes enfants! Preparez cette salle'
• Prologue: 'Eh! Luther! Ma grosse tonne'
• Prologue: 'Il etait une fois a la cour d'Eisenach'
• Prologue: 'Peuh! cette biere est detestable!'
• Prologue: 'Et par ou votre diablerie'
• Prologue: Entr'acte
• Act One: 'Allons! Courage et confiance'
• Act One: 'Pardieu!' J'etais bien sur de te trouver ici!'
• Act One: 'J'ai des yeux, de vrais yeux'
• Act One: 'Non, aucun hote, vraiment'
• Act One: 'Les oiseaux dans la charmille'
• Act One: 'Ils se sont eloignes enfin!'
• Act One: 'Tu me fuis? qu'ai-je fait?'
• Act One: 'Voici les valseurs!'
• Act Two: 'Belle nuit, o nuit d'amour'
• Act Two: 'Amis! L'Amour tendre et reveur'
• Act Two: 'Au jeu, au jeu, messieurs!'
• Act Two:: Scintile, diamant
• Act Two:: A nous trois, mes maitres
• Act Two:: 'Malheureux, tu ne comprends donc pas'
• Act Two:: Que vais-je faire? Quel est ce brevuage
• Act Three:: Elle afui, la tourterelle
• Act Three:: Jour et nuit je me mets en quatre
• Act Three:: ' C'est une chanson D'amour qui s'envole'
• Act Three:: Que veux-tu faire?
• Act Three:: 'Tu ne chanteras plus...sais-tu quel sacrfice'
• Act Three:: 'Mon enfant1ma fille! Antonia!'
• Act Three:: Intermède-Entr'acte
• Epilogue: 'Voila, mes amis, quelle fut I'histoire de mes trois amours'
• Epilogue: 'Messieurs, le souper est seri!'
• Epilogue: 'Et moi? Moi, la fidele amie'
• Epilogue: 'Asieu! Je ne veux pas te suivre'
• Epilogue: 'Jusqu' au matin remplis, remplis mon verre!'