Jacques OFFENBACH (1819-1880)
Hoffmanns Erzählungen (Les contes d’Hoffmann) - Fantasic
Opera in five acts [150:47]
Hoffmann – Siegfried Jerusalem (tenor); Olympia – Jeanette Scovotti (soprano);
Giuletta – Norma Sharp (soprano); Antonia – Julia Varady (soprano); Andreas,
Cochenille, Pitttichinaccio, Franz – Friedrich Lenz (tenor); Lindorf, Coppelius,
Dapertutto, Mirakel – Dietrich Fischer-Dieskau (baritone); Niklaus, The Muse
– Ilse Gramatzki (mezzo); Voice of Antonia’s mother – Hanna Schwarz (mezzo-soprano);
Stella – Gisela Schunk (soprano); Crespel – Kurt Moll (bass)
Chorus of Bavarian Radio; Munich Radio Orchestra/Heinz Wallberg
rec. March 1979, Bavarian Radio, Munich
no text or translations included
EMI CLASSICS 50999 9 12305 2 2 [79:10 + 71:37]
Here is a fascinating issue. It is Hoffmann in the form that it was
once always known and performed, that is, it uses the edition prepared by
Ernest Guiraud after the composer’s death; he performed a similar service
for Carmen with equally dubious results. In recent years other editions
have been appearing which attempt to show more accurately what the composer’s
intentions may have been. That by Fritz Oeser, published in 1977, soon established
itself and it will soon be followed by one from Jean-Christophe Keck and Michael
Kaye. Both make use of a vast array of new material but inevitably even then
many subjective decisions have to be taken. It is simply not possible to be
entirely sure as to how the composer might have completed his final version
of the opera. The edition used by Wallberg was that which held the stage for
about a hundred years. It has many merits, especially if the final scene is
extended to include the appearance of the Muse as is done here. Its major
defect is the reversal of the Giuletta and Antonia Acts. The listener could
simply play these parts of the discs in reverse order which would to a degree
get over this problem.
In many ways the most fascinating aspect of this issue is the language. I
am a firm believer in the audience being able to understand the text as it
is sung without the distancing effect of surtitles or subtitles or having
to follow a printed libretto. I must then applaud a version in the vernacular
of the recording company (Electrola) and obviously intended for the German-speaking
market. This might be expected however to count against it for anyone with
only limited understanding of German. In the event the result is surprisingly
enjoyable, due largely to the excellent vocal characterisation and use of
words by the majority of the cast. Siegfried Jerusalem and, unsurprisingly,
Dietrich Fischer-Dieskau are especially notable in this. Each combines a voice
of rare beauty with convincing vocal acting. The result is certainly very
different from what can be achieved with the French text. The humorous aspects
of the opera scarcely register but it does mean that there is a real sense
of a dramatic whole, to which the conducting of Heinz Wallberg and the sometimes
heavy orchestra and chorus adds significantly.
No one recording of this opera of all operas is likely to satisfy in every
respect. This is clearly a set that will appeal outside German-speaking countries
largely to those who already know the opera well from other performances and
recordings. For such listeners, however, it offers real rewards. It is no
mere curiosity but an interesting and valid approach to the work which forms
a valuable supplement to other versions.
John Sheppard
No mere curiosity but an interesting and valid approach which forms a valuable
supplement to other versions.
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