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Like the play, the opera is based on three of the psychologically complicated and fantastic stories of the German Romantic author and composer E.T.A. There is probably something for everyone here, ranging from the early exuberance of Ba-ta-clan to the unfinished Les contes d’Hoffmann. For the operetta composer, please use Jacques Offenbach. In between are visions of his passions for three other women.

Among the points of debate among music historians are Offenbach’s intentions regarding sung recitatives versus spoken dialogue.

Misc. Genres: Blues Rock, Rock, Progressive Rock. Sites: offenbach.ca, Wikipedia.
The opera was intended for the 1877–78 season at Paris’s Théâtre de la Gaîté-Lyrique, though Offenbach missed the deadline by a large margin. About. Left unfinished at Offenbach’s death, the work was completed by the composer’s colleagues.

The following 90 pages are in this category, out of 90 total. Offenbach's numerous operettas, such as «Orphée aux enfers» (Orpheus in the Underworld) and «La belle Hélène», were extremely popular in both France and the English-speaking world during the 1850s and 1860s. Marcel Couraud, Michel Plasson, Willy Mattes, Félix Nuvolone, Jean-Pierre Marty, Pinchas Steinberg, John Eliot Gardiner, Manuel Rosenthal, Sylvain Cambreling, Heinz Wallberg, Carlo Maria Griguoli, François Le Roux, Offenbach: La Vie Parisienne (Paris Life), Offenbach: La Fille du tambour-major: excerpts, Offenbach: La Grande-Duchesse de Gérolstein: excerpts, Offenbach: La Grande-Duchesse de Gérolstein, Offenbach: Monsieur Choufleuri restera chez lui le….

Jacques Offenbach (20 June 1819 — 5 October 1880) Alternative Names/Transliterations: Jacob Offenbach, Jakob Offenbach, Jakob Eberst, Jacques Eberst, Jacques Levy

Linda Cantoni has worked with the Regina Opera Company in various capacities -- onstage, backstage, and offstage -- since its inception forty years ago. The opera premiered in Paris on February 10, 1881. A special feature of this 30-CD collection are star-studded recordings in both French and German of his most celebrated operettas – works that overflow with joie de vivre and satirical wit – and of Les Contes d’Hoffmann, an opera that daringly fuses fantasy, comedy and tragedy.

The opera opens and closes with scenes of Hoffmann’s obsession with Stella, an opera singer. The Tales of Hoffmann, opera by German-born French composer Jacques Offenbach, with a French libretto by Michel Carré and Jules Barbier, the latter of whom was a coauthor of the play of the same name, from which the opera was derived. The Muse/Nicklausse, Hoffmann’s poetic muse, disguised as his friend (, Luther, a tavern-keeper (bass or baritone), Coppélius, an evil scientist (bass or baritone), Giulietta, a Venetian courtesan (soprano), Dapertutto, an evil magician (bass or baritone), Voice of Antonia’s Mother (soprano or mezzo-soprano), Party guests, servants, dancers, entertainers. The opera premiered in Paris on February 10, 1881. The Tales of Hoffmann has no “official” version. trans. Albums include Tabarnac, Soap Opera, and Saint-Chrone de Néant.

Given the debate, not only opera directors but also conductors and musicologists have taken on the task of reimagining Hoffmann.


One particularly notable version was crafted by American musicologist Michael Kaye, who, in studying Offenbach’s original drafts, restored music for the muse Nicklausse and expanded the Giulietta act, increasing its dramatic impact. Profile: A blues rock band from Montreal, Québec, Canada, which was formed in 1969. They disbanded in 1985, but have reunited multiple times since. Numerous alternate versions exist, each with its own advocates. In each act, the leading tenor is the character of Hoffmann. Evidence reveals that Offenbach intended one soprano to perform all the roles and one baritone as well, so as to clarify the notion that those different characters are different aspects of a single personality.

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Further revisions followed. Almost without exception the performances collected here tread Offenbach’s primrose path with verve…Twenty-first-century operetta lovers will weep to see such luxury casting…The Belle Hélène here is Jessye Norman, no less: a performance of such sensuality and vocal charisma that it could easily launch a thousand ships. Offenbach’s original plan was that those three acts would serve as a kind of spiritual journey from youthful infatuation (the Olympia act) through mature love (the Antonia act) to the indulgences of an idle wastrel (the Giulietta act). Our editors will review what you’ve submitted and determine whether to revise the article.

For musicological and theatrical reasons, those and other changes that Kaye suggests attracted a strong following, and it may yet become the standard version of Hoffmann.

All rights reserved. Brief excerpt from the barcarole “Belle nuit, ô nuit d'amour,” also called “Barcarole,” in Act II of Jacques Offenbach's, Excerpt from the barcarole “Belle nuit, ô nuit d'amour,” also called “Barcarole,” from Act II of. Even the order of the opera’s acts has been varied. Also problematic is the number of singers required for the principal roles.

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