Les contes d'Hoffmann (The Tales of Hoffmann) (1981) Online

I saw this for two primary reasons, Placido Domingo and the fact I am very fond of the opera itself. Both did not disappoint. Offenbach's music is a gem. As much as I love the Barcarolle and the Doll's Song, it is a shame that the rest of the music isn't as fondly remembered, asides from those two(which are deservedly the standouts of course) there are some truly beautiful moments.

The singing I had no problem with either. Domingo is wonderful as Hoffmann, not just when he is a drunk but in the 3 stories too. He sings absolutely beautifully and demonstrates a very strong acting ability. The Doll's Song is a true colouratura tour-de force and sung with effortless ease, and a lot of care is taken in the Barcarolle for Guilietta and Nickelausse to blend together. For me the three supporting standouts were Robert Lloyd who is superb as Lindorf, Nicola Ghiuselev as Miracle and Gerraint Evans as Coppelius. In fact the only weak link is Antonia, she wasn't terrible far from it, but as has been said before and rightfully so the role is so downbeat and the performance of Ileana Cotrubas was just lacking that extra edge to make Antonia even more poignant.

The story is a timeless one. The prologue is entertaining, while all three stories are beautifully combined and full of memorable characters. The direction is excellent throughout, and the orchestra and conducting are spot-on. Visual wise, this production is a treat with elaborate, colourful sets and exquisite costumes. In conclusion, it is a treat to watch and has wonderful characters and beautiful music. 10/10 Bethany Cox

Offenbach's unfinished masterpiece was hacked about at its first performance to make it short enough for the Paris audience to hear it and be able to catch the last metro home. Throughout the hundred or so years since its premiere it has been performed in one or other butchered version. More recently, bits of the original manuscript have started to turn up again, most notably in the Paris censor's office. There are currently two rival completions claiming to be the authentic opera as envisaged by Offenbach.

This Covent Garden production from 1981 predates all that scholarship but it is still quite a chunky opera. There is a prologue in a tavern in which a drunken Hoffmann explains that there are three women in his life. Then we have three separate stories in which Hoffmann, accompanied by his young companion Nicklausse, falls in love with, first, an animated doll, secondly a courtesan and thirdly a doomed singer. In each of these stories there is a sinister rival who comes between Hoffmann and his beloved. Finally, back in the tavern, Hoffmann explains that these three women are all facets of the same woman, Stella. But, when Stella arrives, Hoffmann is in a drunken stupor and she leaves with his nemesis Lindorf. At this point Hoffmann's companion Nicklausse is revealed as his Muse and his one real love.

Offenbach may have wanted all four villains to be played by one bass-baritone and all four lovers by one soprano. In common with many productions, this 1981 staging uses different singers for each role. However, director John Schlesinger does ensure that a leering Lindorf appears at the end of each segment to emphasise that he is the true villain of the piece.

The opera is full of exquisite music but the two best-known numbers are Olympia's song and the barcarolle. Olympia, sung by Luciana Serra is a doll who comes to life when Hoffmann dons his rose-tinted spectacles. I like the way Schlesinger bathes the stage in pink light whenever Plácido Domingo, as Hoffmann, puts on these spectacles. Olympia's song is a tour de force of high-note coloratura but every time she goes for the high note her mechanism runs down and her creator, Spalanzani, has to wind her up. The barcarolle duet comes in the second story where the courtesan Giulietta conspires to rob Hoffmann of his shadow. The ravishing Agnes Balsa is Guilietta and she can steal my shadow any time she wants. She duets with Claire Powell's Nicklausse who, here and elsewhere, is not convincing as a man but very convincing at the end when she becomes the muse. The final story is of Antonia who suffers from a mysterious illness that will kill her if she tries to sing. Ileana Cotrubas is rather disappointing in this role but it is a difficult one to pull off because it is so downbeat.

Plácido Domingo is vocally impressive throughout and makes Hoffmann different in each story: a naïve student with Olympia, a young Elvis with Giulietta, a serious artist with Antonia and an aging drunk in the prologue and epilogue. This is a traditional production of Hoffmann but, under John Schlesinger's direction it is full of insights and imaginative touches. With four elaborate sets and four scene changes this must be a long evening in the theatre but watching at home it passes in a glorious moment.