"Tales of Hoffmann" from 2YA

Radio Record, Volume V, Issue 1, 17 July 1931, Page 1

"Tales of Hoffmann" from 2YA

On July 20: another complete opera, Offenbach’s "Tales of Hoffmann,’ will be broadcast from 2YA by the Orpheus Musical Society, under the direction of Harison Cook, whose brilliant operatic career was outlined in this journal some months ago. _ Below, in an article specially written by Mr. Cook for the "Radio Record," appear some very interesting sidelights on Offenbach’s life, and a short synopsis of the story of "The Tales of Hoffmann;" which will be presented, in English, in a prologue, three acts, and an epilogue.

F course, Offenbach wasn’t his name, for his father’s natne was Juda Eberscht, hut he will always be known as Jaques Offenbach and, in any case, it’s a much easier name to remember. He was born a German but, when he was 15 years of age, he went to Paris, and, contrary to all the rules and regulations of the Paris Conservatoire, which closed its doors to all foreigners, he managed to "wangle himself in" as a student. He eventually became "more Parisian than the Parisians," and, later in his life, he actually became a naturalised Frenchman. He was what was known in those days as a "dandy," and was often seen dressed in a sky-blue coat, yellow waistcoat and trousers, grey gloves, a green hat and carrying a red sunshade. His ‘light operas (of which he actually wrote about a hundred in 25 years), became the rage of Paris and the biggest box-office draws in the world. In fact, when Wagner tried to get "The Meistersingers" produced in: Vienna he was told that they were far too busy producing Offenbach’s operas to worry about his, and Wagner — was so annoyed that he called Offenbach "that musical clown." Offenbach’s sparkling-there is’ no

other word to describe it-music was so popular that numbers were taken from his works and introduced into pantomimes and burlesques in all parts of the world where such entertainments-were given. His works are still popular. Some years before the War an English translation was made of "The Tales of Hoffmann" and was offered to Mr. Charles Manners, of the Moody-Manners Opera Co.-the only. real opponents the Carl Rosa Opera Company ever had in opera-but™ he refused to take it because the copyright conditions required that wo performances a week must be given of the work. It was then offered to Mr. Walter Van Noorden, then managing director of the Carl Rosa Opera Company, who snapped up the chance, and, incidentally, for many years Monday night and Saturday matinee usually, with the Carl Rosa, consisted of "The Tales of Hoffmann," very much to the financial benefit of the ‘company. They are still playing the opera in their repertoire. The sparkle in his music and the twinkle in his eyes seem to indicate that Offenbach extracted all the fun possible out of life, and even his masterpiece and last work, "The Tales of Hoffmann," is: said to have been written to win a bet with somebody who said that he couldn’t write anything but light, ear-tickling music. Experts also say that "The Tales of Hoffmann" was Offenbach’s burlesque on all _ the grand operas, which were favourites at the time. It is hoped that the following short summary of the story of "The Tales of Hoffmann" will help listeners-in to visualise the various scenes while listening to the music of the opera when it is broadcast from 2YA on July 20, and thus add materially to the enjoyment of the presentation,

The Prologue : The scene.is laid in Luther’s wine ' (though for some reason the French : beside the Opera House in Berlin rettists- have made it Nuremberg). Students are singing a drinking. chorus, when Hoffmann and his friend Nicklaus enter and join them. They persuade " Hoffmann to sing, and he sings "The : Legend of Kleinsack." He then falls * into. a sentimental mood and tells them . the story of his three great loves, to ; which they listen, ignoring the fact that the curtain is about to rise’ on the’ 3 ‘opera; "Don Giovanni, Opera House. . Hoffmann sings, "This first fond love of mine was called Olympia," and the curtain descends. * * The three "tales" are now presented, . in the adjoining as if they were actually taking place, in three successive acts. The First Tale | -‘Olympia the The scene is a room in the house of. Spalanzani, and is brilliantly lighted in. preparation for a ball. "Spalanzani is a scientist, and Hoffmann becomes his pupil. Spalanzani’s’

masterpiece is an automatic doll which he has constructed, and his partner, Goéppelius, sells Hoffmann.a pair of spectacles which make: everything, no matter how unreal, appear real. While wearing these," Hoffmann ithmediately falls in love with Olympia, the doll (imagining that she is the daughter of Spalanzani), as she sings.a song, and he. fails to hear the sounds caused by winding up the mechanism of the doll when it twice runs down during the performance. E then dances with the doll, whose. . movements become so energetic that Hoffmann drops down exhausted, and Olympia disappears into an adjoining room. : Coppelius, who has been bought out of the firm by Spalanzani, who gives him a cheque, discovers that owing to the failure of "Elias the Jew," the cheque is worthless. He then rushes into the house again and breaks the doll into pieces, while the crowd laugh at Hoffmann for having fallen so madly in love with a mechanical doll. The Second Tale-"‘Giulietta the Courtesan" The scene is laid in the sumptuous palace of Giulietta, a courtesan, in Venice. . The curtain rises on the well-known Barcarolle, which is being sung by Giulietta and Nicklaus, the friend of Hoffmann. Hoffmann enters, but Nicklaus, to get him away from Giulietta, drags him into an adjoining room to play cards. Dapertotto, an evil magician, enters and requires Giulietta to obtain the reflection, or shadow, of Hoffmann in a mirror that he gives her for that purpose. (Concluded on page 2.)

. rn re Tales of Hoffmann | (Continued from front page.)

Hoffmann returns, and Giulietta, during the course of their love-making, "easily succeeds in fulfilling her mission, .A duel follows, in which Hoffmann kills Schlemil, a lover of Giulietta. He has hardly concluded this deed ‘when he sees Giulietta leaving in-a gondola with still another lover, Pitichinaccio, and he discovers he has been duped and has again failed in "Jove, the Third Tale . -"Antonia the Singer." é "he scene takes place in the house of Councillor Crespel, in Munich. Crespel has a beautiful daughter, Antonia, who has inherited the wonderful voice of her dead mother, but, alas, like the heroine in "La Traviata," he"is consumptive, and must not sing. She loves Hoffmann and he, in his love forher, entreats her to sing no > more, and leaves her. ; Dr. Miracle, an evil- genius, comes to hear, and invokes the soul of her dead mother, and a large’ portrait of the latter comes to life and ‘sings. Miracle diabolically persuades Antonia that it is her duty to use the gift bequeathed to her, and, she joins in the trio. ‘+ The effort is too much for "her and "kills her, and Hoffmann. enters to ‘find her dead upon the floor. For a ‘third time Fate has cheated him of "his love. The Epilogue. ; A return is made to Luther’s wine (wault. Hoffmann has just concluded ihis "Tales" to the students, and, feel‘ng that the beer provided is not: gtrong enough to drown his memories, galls loudly for punch. i; "This is brought in and the curtain ifalls on a scene of wild carouse. a ‘

Offenbach never heard this opera performed, for he died a few months before it was first produced, at the Opera Comique, in Paris, but I like ‘to think of him probably saying to some friendly shade, "Never mind, I enjoyed pulling the legs of so-called great composers, and, by Jove, I did have some fun when I wrote "The Tales of Hoffmann."