"THE TALES OF HOFFMAN"

Dominion, Volume 13, Issue 81, 31 December 1919, Page 10

"THE TALES OF HOFFMAN"

FIRST PRODUCTION IN NEW ZEALAND "Tho Tails of Hoffman," a fantastic opsra in' three acts (with prologuo and epilogue). Cast: Hoffman Ralph Errollo Luther (innkeeper)' Hoy Dunn Nathaniel (student) Charles Mettam Herman (student) Charles Bradley Nicklauß : Thelma, Carter Spr.lanzani (scientist) Fred Collier Cochenillo (his assistant) A. l'crryman Coppclius Tom Jlinocno Olyinpia (an automaton) ... Eileen Castles •Dapertutto (musician) Carl Formes Schcemil Boy Dunn Fitkhinaccio. Charles Mettam Guilietta Elsy Trewecl; Br. Miracle Alfredo Valenti Crespel (Antonia's father) ... Fred Oollicr Franz (a Kcrvant) Tom. ilinopuo The Yoico Anita Roma, Autonia ' Patti liusscll

. As fnr as the memory serves Offenbach's "Ta-los of Hoffmann," perfcrmud )>y tho Williamson Grand Opera Company at the Opera Iloitso.last evening, has not hitherto been heard, in New Zealand, and it is only in recent years that it lias been popularised in England by Sir Thomas Bcecha.ni, which is remarkable when one considers how very popular were the works—opera comiquo mostly—of this prolific composer in England and America during the third quarter of the last century. Those who follow tho history of our lyric stage will know and lnaybs recall the delight with which they heard such sparkling light operas as "La. Rile dit Tambour Major," rt Mndame Fnvart," "The Grand Duchesse," "La l'erichole," "Genevieve do livab.mt," and other works which nro how relegated to the dustiest shelves of tho library. The neglect of "Tlio Tales of Hoffman" by the English iyric stago up till 6ome ten years ago may have been due to tho reserve of the French in not accepting Offenbach as <v composer of anything but comic opera. 4 One writer says of the agilo French man: "Offenbach's melodies aro often vulgar and often wanting in piquancy. Ho never hesitates to repeat a good phrase (neither did Sir Arthur Sullivan for that matter), or to break a rule, if any purpose is to bo served by it, but this, and other faults, are much concealed by tho bustle, gaiety, and extravagance of his effects, t!io frequent happy hits, and the strong natural vein of irony." Against this somo of his operas have been sensationally successful even in this quar-

tor of tho globe. There are tlioso who will remember 'Tambour Major" running in Melbourne for over ft hnndrr.il nights some fifty years ago, whilst away back in IEU 7 Offenbach's "Grand Duchosse" ran for 158 nights in New York. So that whatever jaundiced critics may have had to say about the French compcser, he wrote with remarkable success for the times he lived in. "The Tales of Hoffman" may be described r.s a fantastic opera in three acts with a prologue arid epilogue. The prologue finds Hoffman with his boon companions in Luther's wine cell'nr, making merry between the acts of an opera being played in an adjacent theatre. He .is charged with sadness )jy his merrier friends, and offers to explain to thein ' the reason by relating his thrco unfortunate love affairs, and these •form tho three acts of the opera. 111 the first panel—as the revue bills would have it —Holfnini) is shown in love with Olymnia, believed by him to be the daughter of .Spalanxani, tho physiologist, but in reality only a marvellous automaton used by one C'oppelius in his alleged magical mysteries. Coppelius sells the automaton to' Spalannni, and to Hoffman disposes of a pair of magic spectacles, which to his eyes give life lo the doll. ' At a party, Hoffman declares his love for Olympia despite her mechanical conversation, and then dances with I her, but Olympia lias been overwound, i and dances with the lovesick swain' until 1 li> faints. 0:i recovering he learns of the deception that has been practised 011 him, and retires crestfallen. In tho second act Hoffman is found to bo enslaved by n Venetian courtesan, and through her and he:' evil counsellor. Dr. Miracle, lie slays his rival, and when thinking he has cleared the Path, awakes lo find the jade floating away in a gondola' clasped in another's-anus. The third tale is a doleful cue. Hoffman has fallen in lo\e with Antonia, (he daughter of Counsellor Crespcl. but the lady is bewitched bv a Svongnli-like Dr; Miracle, and through hi? e.vil machinations dies an 1111fcimelv death. So tho epilogue—once more in Luther's cellar where the Wiirtabercer flows. 1 •

The neiform.mcn. shows the real strength the Williamson Compnny. Naturnllv. in three comoletc "tales" a lareo cast of characters is involved, and it is with pleasure that one notes that the Miief sueceacs were scored by Australian singers. , Miss Eileen Castles made a distinct and certain hit as Olympia, tlio singing automaton. Looking for all the world like a high-priced extra-' sweer. doll with the most golden curls and tlio pinkest Miss Castles acted tlio automaton ingeniously, and without pokey effect, and sang th<3 charming doll ballad, with its difficult radenzas and bird-like roulades so admirably that slir' enraptured the entire audience. who.- tendered her a genuine, ovation. Another very fine performance was that, of 11 r. Fred Colliet, ivho, as the suwwsed father of Olympia, displayed a rich, invigorating bass voice, and an alert and abundant sense of comedy. His business as harpist whilst Olympia sines was extremely comical, and always i'opmmiatc. Mr Ralph Erinlle was in capita! voice as Hoffman, and sang tlio loan. firms role with marked fluency and effect. Some of his best efforts were the comical legendary ditty in the prologin?. "*Tis a Pong of Love," and the linots in llio third act (with Miss Russell). "Let lis Not Be Sighing" and "lN'ourht Can Change Our Delight." Mr. Hrrollo made a somewhat impassive lover throughout, and in Act I omitted to wear tlio glasses by tlio magic aid nf which 110 alone was deceived, hi the Venetian act (II) the curtain rises 011 a seeno of languorous beauty— a cushion-strewn atelier, peopled With lovers, whilst through the areheil opening at the back a full summer moon shc-dti its silver effulgence on the placid waters of tlio Grand C'anal. The curtain music is the symphony to the well-known Barcarolle, which is sung as a duct I>v triiiliect-i. (Mi?s Elsy Trewec-k) aud Nieklaus- (Miss Tlielma Cnvtor), a humming chorus effect being introduced as a variant to the second stan;'.,i. 111 this act Miss Trsweck gave a sound performance of Guilietla; Mr. Carl Formes Hang and acted admirably as Dapertutto, the magician, and Mr'. Roy Dunn was Scheemil (Hoffman's rival). The final act scarcely held the interest of Hie audience iii tho fata of the bewitched Anton ia. The act seemed unnecessarily dlagged cut. Miss Pat.ti Russell _ snug the music of Anton'a with much simple charm: she sang tlio "I.ove" refrain an<t "The. Life of tin; Flower" solo with an air so free of sophistication as io be

quite tho picture, find ill the striking-', trio '"Tis My Mother Calling'' (in which lier mother appears iti a transparency'of lier own portrait) Miss' ftussoll sang very earnestly awl well. Tl»s act witnessed a .fino actmg performance of Signor Volenti as Dr. Mjracle, and another serious cliararto:. study of great worth by Mr. Fred ColThe opera was excollently mounted. Tlio wine cellar and Venetian scones were convincing settings and tho gaiety and glamour of the first act were charmingly reflected in tho colour scheme of Spalanzani's ballroom and guests. Again the orchestra, under Mr. Gustave Slapoffski, cavo great pleasure in the finish and balance shown. The theatre was packed once moro with a brilliant audience, and there wa» that in the air which reflected enthusiastic appreciation.

"LA I3OHEME." Tho subject matter of Puccini's opera "La Boheme," to bo presented to-niglit, is taken from Mugger's "La Vie do Bohemc." Act I finds tho care-freo and povcrty-stricken students, Eudolpho, tho ' poet, and Marcelle, tlio artist, cold and hungry in their garret. Rudolpho Las just sacrificed his manuscripts to keep tho firo alight, when thero appears Schaifnard, tho musician, who has had a windfall, tlio fruits of which he shares with iiis comradcs. Collins, tho philo- . soplier, joins tho'feast, wdiich is interrupted by the landlord in search of his , rent. They pay him in good cheer. ' The supper over, all hut Eudolpho set' off for tho fair, which is held befoyfe tho wife inonus. Tho poet's meditations are broken into by tho arrival of Kimi, anyembroiderer, who seeks a light. Tho encounter brings them to a mutual declaration of a love that had previously only smouldered in their breasts. Tlio act closes with them both setting off for the fair. Act II finds nil the friends enjoyini; the festival and introduces Musette, Marcelle's sweetheart. Sho enters in company with an old beau, whom sho gets rid of by trick, and joins her lover. The Iwo lea ve in the wake of tho other roysterers< Act 111 shows the two pairs of lovers quarrelling and becoming reconciled, and parting once again. Hero it is.that the mortal illness of Mimi, suggested in Act I. is made pkin. Act IV reveals Kudolpho and Marcello bemoaning the loss of their sweethearts. Their commiserations are interrupted by the entrance of Musette, who announces tlio coming of Mimi, now dying. Tho two students bear tho form of tho littlo embroiderer to Eudolpho's bed. This others enter, and leave again to pawn the'rr belongings to sccur6 comforts for Mimi. ' She, however, is beyond mortal aid, end after, her tender farewell dies happily in the, arms of her grief-strjeken lover.