In THE PROLOGUE
The Muse of Poetry SIOBHAIN GIBSON
Spirit of Beer ANDREA CREIGHTON
Spirit of Wine EMILIA O’CONNOR
In ACT ONE "HOFFMANN"
Councillor Lindorf ANDREW MAYOR
Andres, Stella’s PA
IAN BELSEY
Mr Luther, steward at the opera PHILIP COX
Hoffmann
PAUL FEATHERSTONE
Nicklaus (the muse in disguise) SIOBHAIN GIBSON
Nathaniel
SIPHIWO NTSHEBE
Hermann
DEVON HARRISON
Wilhelm
BARRY CILI
Wolfram NJABULO MADLALA
In ACT TWO "OLYMPIA"
Spalanzani, an inventor IAN BELSEY
Cochenille, his assistant PHILIP COX
Hoffmann PAUL FEATHERSTONE
Nicklaus SIOBHAIN GIBSON
Dr Coppelius, a maker of eyes and optical instruments ANDREW MAYOR
Olympia, a mechanical doll EMILIA O’CONNOR
In ACT THREE "ANTONIA"
Antonia, a young singer ANDREA CREIGHTON
Hoffmann PAUL FEATHERSTONE
Nicklaus SIOBHAIN GIBSON
Crespel, Antonia’s father, a maker of musical instruments PHILIP COX
Franz, their butler IAN BELSEY
Dr Miracle, a physician ANDREW MAYOR
The Ghost of Antonia’s mother EMILIA O’CONNOR
The voice of Antonia’s mother SIOBHAIN GIBSON
Giulietta, a lady of the night EMILIA O’CONNOR
Pittichinaccio, her servant PHILIP COX
Schlemil, her lover IAN BELSEY
Dappertutto, a magician ANDREW MAYOR
Hoffmann PAUL FEATHERSTONE
Nicklaus SIOBHAIN GIBSON
In THE EPILOGUE
Hoffmann PAUL FEATHERSTONE
Stella, an opera singer ANDREA CREIGHTON
Lindorf ANDREW MAYOR
The Muse SIOBHAIN GIBSON
Conductor PHILIP SUNDERLAND
Designer GABRIELLA CSANYI-WILLS
"Director Jeff Clarke has brought out the darkness in this adaptation of the opera, fraught with difficulty as no definitive version exists. The clever adaptation and translation brings Hoffman to an English country house where an opera (Don Giovanni) is about to be performed. Clarke’s “translation” brings in references to current operatic stars and a nice swipe at the deplorable state of national funding for small-scale opera in particular and the arts in general. It’s inspired stuff, but Opera della Luna never loses sight of the fact it IS about opera, and the lush textures created by the Emerald Ensemble are thrilling, beautiful and deceptively spacious."
Tales of Hoffman Opera della Luna, Iford
BY the end of Offenbach’s life he was satisfied of Barbier and Cane’s theory that man’s ideal woman is an amalgam of doll, virgin and whore, the argument at the heart of Tales of Hoffman. The composer died in October 1880, in the latter stages of rehearsal, never knowing the triumph it became.
This year the inventive Opera della Luna brings the work to the cloister at Iford, starting the 2005 festival with a third Offenbach offering. Those who saw the familiar La Belle Helene in 2003, and the less frequently performed Robinson Crusoe last year, will be in for a surprise. Director Jeff Clarke has brought out the darkness in this adaptation of the opera, fraught with difficulty as no definitive version exists. The clever adaptation and translation brings Hoffman to an English country house where an opera (Don Giovanni) is about to be performed. The lovelom poet, newly smitten with diva Stella, tells his companions the stories of the three great loves of his life. His muse must fight for his attention against these women. In Offenbach’s version the muse takes the guise of Hoffman’s friend Nicklaus, finally revealing that all three women, Copelius’s robotic doll Olympia, the pure young singer Antonia and temptress Giulietta, are part and parcel of the same ideal.
Clarke emphasises the broad humour, helped by the brilliantly versatile Ian Belsey, whose singing is as fine as his dramatic talents and comic timing. The anxious muse is finely sung by Siobhain Gibson, and Andrea Crighton is a mesmerising Antonia. Emilia O’Connor has all the vocal fireworks for Olympia. Paul Featherstone in the massive central role, is the despairing poet who finds too easy refuge in alcohol, and finally realises that all his heartbreaking relationships only add to his artistic bounty. Clarke’s “translation” brings in references to current operatic stars and a nice swipe at the deplorable state of national funding for small-scale opera in particular and the arts in general.
It’s inspired stuff, but Opera della Luna never loses sight of the fact it IS about opera, and the lush textures created by the Emerald Ensemble under the baton of Philip Sunderland and the 11-strong cast are thrilling, beautiful and deceptively spacious. Opera at Iford is one of the most magical and seductive experiences of an English musical summer, to be cherished and supported. Opera della Luna has once again done this beautiful setting proud. Performances continue until 2nd July, and are followed by one night only of the new work The Birds, by Ed Hughes and Glyn Maxwell, on 6th July, and then by Early Opera Company in Handel’s Flavio from 9th to 16th July, and by Iford’s first “home” production, of Dvorak’s Rusalka from 26th July to 6th August.
A few return tickets may be available. Contact 01225 448844 for information.
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Jeff Clarke's version of Tales of Hoffmann was performed in 2015 by English Touring Opera.
"Wierdly ghoulish, hugely enjoyable...... in Jeff Clarke's sparkling translation, this is ETO at its best."
Rupert Christiansen THE DAILY TELEGRAPH ★★★★★
"Jeff Clarke’s English version is perfectly crafted too, effortlessly capturing the opera’s complex spirit."
George Hall THE STAGE ★★★★
"Thankfully, the version used by English Touring Opera applied creativity and intelligence to the creation of something suitable for touring."
Robert Hugill PLANETHUGILL ★★★
