Hoffmann's fairy tales, opera performances. Completing the storyline

Jacques Offenbach

The libretto was written by J. Barbier based on the short stories by E. T. A. Hoffmann. The first performance took place on February 10, 1881 in Paris

First action.

A small Nuremberg zucchini. A cheerful company has gathered at the tables. Jokes are heard from everywhere, the clink of glasses is drowned out by bursts of booming laughter and songs. Tobacco smoke has covered the ceiling with a gray veil. The city councilor Lindorf slowly enters the cellar. He glances over the noisy company with a displeased glance. This is true! In the tavern there are only drinking companions of the poet Hoffmann ... Suddenly Lindorf notices Andreas, the servant of the singer Stella, to whose charms the city councilor is far from indifferent. The messenger has a letter in his hand. Who is it for? Driven by jealousy, the insidious Lindorf asks Andreas about his secret mission. The servant is unable to resist the power of gold - A piece of paper, addressed to the poet Hoffmann, falls out of a torn envelope, and ... the key to Stella's boudoir Out of indignation, Lindorf crumples the letter, and hides the key in his pocket: he himself will sneak into the beauty's chambers at night ...
Meanwhile, the owner of the tavern Luther, along with the waiters, is putting a new batch of bottles on the tables: Hoffmann is about to come up. Indeed, the door swings open and the poet enters. As always, his inseparable friend Niklaus is with him. Those who enter are happily greeted by the feasting in the tavern. They look forward to a fun evening: Hoffmann is famous among friends for his inexhaustible wit. But no, today the poet is clearly out of sorts. He has only one desire - to forget himself over a glass of good old wine. "Life is short, so there is no need to waste time!" he exclaims and knocks over a glass filled to the brim. Gradually, Hoffmann begins to grow drunk. With the wine, the desire to have fun returns to him. He sings to his friends a comic song he has composed about the eccentric Kleinsack who lived in Eisenach. More and more water-stirring, Hoffmann begins to confuse verses. Now he is already singing about spring, about his beloved, about happiness. One of the poet's friends, Nathanael, asks in surprise: is not Hoffman in love? But the poet, laughing, only laughs it off ... Unable to bear it, the hitherto silent Lindorf enters into the conversation. Turning to Hoffmann, he expresses doubt whether he is able to love anyone at all ... Moved by the remark, the poet is ready to tell about his heartfelt passions ... But no, this will not be a simple retelling of several love stories that happened to him. Fantasizing, Hoffmann seeks to figure out who his beloved Stella really is, what is the one in which "three souls, three hearts" were embodied for the poet ...

Second action

In the office of the physicist Spalanzani, an intense and unusual work is going on. The cunning inventor, together with his assistant Koschnil, constructs a large clockwork puppet. Spalanzani is in a hurry: he conceived this evening to introduce Olympia - as he called the doll - to his guests as a daughter. Maybe with her help he will return the money that the bankrupt banker owes him. The physicist is only worried that he will be given out by the optician Coppelius, who also took part in the creation of the doll: the optician made wonderful eyes for Olympia, no different from real ones.
Hoffman accidentally enters Spalantsani's office. The first glance that he throws at Olympia turns out to be fatal for him; he feels that he is madly in love with this graceful and beautiful girl. Thinking that Olympia is asleep, the poet looks at her with admiration. Coppelius gives Hoffmann some unusual glasses. To the one who puts them on, everything fictional will seem to be reality. Knowing that Spalanza is afraid that the poet might learn the secret of Olympia from him, Coppelius extorts a reward from the physicist for his silence. Sly Spalanzani slips a bill of exchange into his burned-out bank. Coppelius relinquishes all rights to the doll. Evening descends on the city. The invitees begin to gather at the Spalanzani house. The owner meets them in a large spacious hall. Every minute there are more and more guests. Laughter breaks out in different corners of the hall. Hoffmann appears with his devotee Niklaus. They are engaged in a serious conversation. Niklaus convinces the poet to accept life as it is, to look at things easier.
Guests are called to the table. Olympia alone does not move. Taking advantage of this, Hoffmann approaches the girl. He wants to immediately open his heart to her. And Olympia herself - it seems to the poet - is waiting for his recognition. Gough-
man tries to hug his beloved tenderly. Seeing this, Niklaus restrains Hoffmann in a friendly manner. He wants to tell everything he heard at dinner about the doll girl. But in vain! The poet in love only brushes off his friend ...
Meanwhile, Coppelius discovers that Spalanzani's money order is invalid. Having started a quarrel, he threatens the physicist to publicly reveal his secret ...
The sound of music is heard in the hall: Spalantsani wants to demonstrate to the guests the musical talents of his "daughter". Olympia's pleasant voice and skillful singing captivate the audience. The dances begin, the dresses of the ladies rustling on the parquet floor, the spurs of the gentlemen are ringing. Hoffmann in love invites Olympia to a waltz. Forgetting everything, the poet enthusiastically circles with his chosen one. Spalanzani, watching them from afar, smiles with satisfaction: But time passes, and the doll waltzes at the same irresistible pace. Hoffmann does not have the strength to continue this frantic dance. He faints. To the bewildered exclamations of those present, Koshnil hastily takes Olympia to the next room ...
Meanwhile, the poet comes to his senses. In a weak voice, he inquires about the girl's well-being ... At the same moment Coppelius bursts into the hall. With a devilish laugh, he loudly announces that Olympia ... is broken.
The guests freeze, amazed at what they hear. Hoffmann grins bitterly. Yes, now the poet cannot but admit that he was cruelly mistaken by mistaking the doll for a living person and falling in love with it.

Third action.

Square in front of one of the most beautiful palaces in Venice. The evening twilight has already enveloped buildings, deserted streets, and lonely passers-by. In the darkness of the evening, like the eyes of huge monsters, the windows in the palace of the noble courtesan Juliet shine brightly. There is a big night ball there tonight. Here is the last belated couple slipped down the street and disappeared behind the carved gates of the palace ...
A spacious hall in the palace flooded with a sea of ​​light. The fun is in full swing. Wine flows like a river. Pitikinaccio amuses the guests with his antics.
The beautiful Juliet shows all sorts of signs of attention to Hoffmann. This does not escape the eyes of those present, and especially of Juliet's admirer - Shlemil. He well understands what the new whim of the courtesan threatens him with.
Niklaus warns his friend against a new passion. But Hoffman only laughs in response. No, now no power can make him fall in love with a woman! The conversation of friends is overheard by the evil and cunning sorcerer Dapertutto. He conceives something unkind: today the poet will be conquered by the courtesan!
Unable to resist the magic of Dapertutto, the courtesan begins an evil game. Flirting, she assures Hoffmann that she wants to stay with him forever. The only obstacle preventing her dreams from coming true is Shlemil. In love with Juliet, he will not forgive betrayal. ”However, she is not afraid of Shlemil, as proof of which she makes an appointment with Hoffmann tomorrow.
Suddenly, the poet notices Shlemil: he is watching the lovers. Enraged, Hoffmann rushes to his opponent. He must kill him in order to take possession of the keys to Juliet's boudoir, which, according to the courtesan, Shlemil always carries with him. The poet's sword pierces the heart of the enemy ...
The devotee Niklaus tries to take Hoffmann away: the poet's life is in danger. But Hoffmann doesn't listen to his friend. He rushes after the courtesan, but ... he sees only a retreating gondola: Juliet preferred him to walk along the canals of Venice at night ... The unfortunate poet can hear only her sonorous laughter ...

Act four

House of Counselor Krespel in a provincial German town. The sound of music is heard - this is the counselor's daughter, Antonia, singing. From time to time, severe shortness of breath forces the girl to stop. Antonia is seriously ill, and doctors have long forbidden her to sing: after all, the girl's mother, a former famous artist, also died of this disease. But Antonia, forgetting about the prohibition, starts the song again and again. She is interrupted by the sudden arrival of her father. The counselor, worried about her daughter's health, had earlier made her promise not to make music. Crespel is also worried about Antonia's hobby for Hoffmann, which, as his father feels, is developing into ardent love. And the lonely counselor does not want to part with his only daughter ...
Shaking his head in displeasure, Crespel leaves Antonia alone. The servants were ordered not to let anyone into the house.
But Hoffmann manages to get to his beloved. Again he sits in her room, sees a gentle face in front of him, kisses her tender cheeks, a neck ... The girl laughs happily and begins to sing. However, the evil disease reminds of itself again ...
Crespel enters unexpectedly. Hoffmann hides out the window.
The servants report to the owner that Dr. Miracles has arrived on a visit. Crespel, who hates this man, decides not to let him in, but ... Miracle is already in the room.
The doctor explains to Crespel about his desire to examine Antonia - after all, she is so dangerously ill. His gaze hypnotizes the adviser, and he is unable to refuse Miracle.
And the doctor, like an evil demon, makes the girl ... sing. Let Antonia look at the portrait of her mother - it comes to life! Mother also asks her to sing. " And the girl sings louder and louder ... Suddenly, she falls to the floor as if knocked down.
Niklaus and Hoffmann run in. Their efforts to bring Antonia to her senses are in vain. Her heart is not beating.
In despair, the poet bends over the cooling body of his beloved ...
Final picture. The cellar again. At the same table, Hoffman is sitting with friends. The poet has just finished his sad story. Only now did the audience understand the deep meaning of his words. The poet opened his heart to them, telling the story of the only, painful love -
The crystal of glasses is ringing. "To hell with love!" - exclaim the feasting. Drunk, Hoffmann, half-delirious, summons his muse. And immediately falls unconscious ...
Stella slowly descends into the tavern. She came for the poet. But, seeing him sprawled on the floor, she immediately leaves the cellar. Lindorff helpfully opens the door for her.
Only the songs of the feasts fly after them.
.

Fantastic opera in 4 acts. Libretto based on novels by E. T. A. Hoffmann, written by J. Barbier.
The first performance took place on February 10, 1881 in Paris.

Characters:
Hoffmann, tenor
Niklaus, mezzo-soprano
Lindorf, baritone
Coppelius, baritone
Dapertutto, doctor, baritone
Miracle, baritone
Stella, soprano
Olympia, soprano
Juliet, soprano
Antonia, soprano
Spallanzani, bass
Koshnil, tenor
Andreas, tenor
Pitichinaccio, tenor
Franz, tenor
Crispel, Antonia's father, bass
Schlemiel, baritone
Luther, innkeeper, bass
Mother's voice, mezzo-soprano

First action. The poet Hoffmann usually spends his leisure time in one of the Nuremberg cellars. Knowing the habits of her lover, the actress Stella sends him a letter and a key to the boudoir in the tavern. But the poet's rival, the advisor Lindorf, intercepts Stella's letter. Suspecting nothing, Hoffman invites his friends to talk about their love for three ladies over a glass of wine. The poet begins his story first.

Second action. Physicist Spallanzani demonstrates to the guests the wax machine-doll Olympia. The fervent fantasy of Hoffmann, who is among the guests, turns the doll into a living girl. To laugh at the poet, Spallanzani's enemy Coppelius wears rose-colored glasses on Hoffmann - if you look through them, a fabulous fiction for a while becomes a reality. The wax doll captivated Hoffmann, he ardently confesses his love for her. But Coppelius breaks his glasses and breaks the machine. The poet's dream has been mercilessly destroyed. Hoffmann is severely disappointed.

Third action. The devil Dapertutto orders the courtesan Juliet to charm the poet. Lost in cards, Hoffman seeks oblivion. The beautiful courtesan seduced the poet - he is ready to spend the evening alone with her. To gain access to Juliet's boudoir, he kills one of her lovers and takes the keys from him. But the courtesan's chambers are empty. From a distance, the sounds of a careless barcarole are heard, it was Juliet who sailed in a gondola with another.

In indignation, Hoffmann runs away.

Fourth action. Finally, happiness seemed to smile at the poet - tomorrow is his wedding with the famous singer Antonia. But Antonia became seriously ill. Her father invited Dr. Miracle to hypnotize the girl to give up singing that was harmful to her health. Miracle - the new embodiment of the evil force that persecutes the poet - decides to use the visit to the patient for his own purposes. He makes the girl gaze long and hard at the portrait of her dead mother. The portrait comes to life, the mother orders her daughter to sing. Antonia obeys - she sings, gradually loses her strength and dies. Hoffmann is desperate.

Epilogue. Zucchini again. The sad story of the poet is over. Hoffmann drinks wine and loses consciousness. Suddenly the gloomy cellar is illuminated with a clear radiance: the emerging muse is ready to free her favorite poet from suffering.

Stella enters - she came for Hoffmann. But, mistaking the poet's faint for drunkenness, Stella leaves with Lindorf.

Fantastic opera in 3 acts with a prologue and epilogue

Dramatic edition of the libretto

and Russian text

French libretto by J. BARBIER

Music

Jacques OFFENBACH

St. Petersburg

1979-1996

"Hoffmann's Tales" is the last creation of Offenbach. This opera is the only non-comedic stage work of the composer. Death prevented Offenbach from completing the orchestration of the opera. This concern was finished by E. Giraud, who replaced (as in the case of "Carmen") with recitatives the conversational scenes of "Hoffmann's Tales".

Its premiere took place in France, Opera-Comic Theater (Paris), 1981. Opera quickly became a repertoire, and bypassed all the famous stages of the world. Among the performances the most significant are: Vienna (1901, director G. Mahler) and two Berlin (1931, directed by M. Reinhard and 1958, directed by V. Felsenstein). In Russia, the opera was first staged at the Mariinsky Theater in 1899.

The Russian version of the libretto was created by Y. Dimitrin for the stage of the Minsk Opera and Ballet Theater. The premiere took place in 1981 after an almost 25-year hiatus in the performances of the opera on the national stage. The play was staged by director Y. Aleksandrov, conductor T. Kolomiytseva.

Characters:

Servants in Luther's tavern, students, Spalantsani's guests, Juliet's guests.

Dedicated to Tatyana Mikhailovna Kolomiytseva

PROLOGUE

Luther's squash. Tables, chairs, beer barrel in front of the puff . Twilight. Moonlight. The zucchini is empty.

Introduction

Glu, glu, glu ...

Wine wanders, poets rave.

Oh, poet, poet -

The involuntary prisoner of the muse.

Throw a sonnet into the fire.

Laugh, drink wine!

Laugh, drink wine!

Only this will give the soul oblivion

Poet ... oh poet ...

Glu, glu, glu ...

Counselor Lindorf enters the tavern. An inconspicuous door opens in the wall, and Stella appears from behind it. André is behind her.

LINDORF. That's her. Stella!/ Hides. / 1

Seeing that the zucchini is empty, Stella writes a few words on a piece of paper, takes out the key from the inner lock of the door, puts the key and a note in the envelope, gives the envelope to Andre.

№1. Recitative

I have heard of this door.

Paradise awaits the lucky one behind her.

I will enter this paradise.

/Andre./ Hey buddy.

Is this door a secret passage to the prima donna's box?

ANDRE. Yes.

LINDORF. Are you her servant?

ANDRE. Yes.

LINDORF. Who is the lucky one to receive this letter?

ANDRE. But...

LINDORF. Am I not her chosen one? Give me a letter, and - live!

ANDRE. But...

LINDORF. I'm buying.

ANDRE. O!..

LINDORF. Twenty five...

ANDRE. But...

LINDORF. Thirty, rogue! What kind of incorruptibility? / Swinging with a cane./ And forty?

ANDRE. Yes.

LINDORF / by giving money and receiving a letter /.

Here, robber and disappear immediately. Can you hear badly?

ANDRE. I AM? No. / Leaves quickly. /

LINDORF / taking out the key and the note from the envelope/.

To whom has the key been sent? / Looking at the note. /

What?! I knew it. Our Hoffman.

All the same Hoffmann, our poet - the hero of the marvelous Stella.

The tavern rebel! Jonah! The genius of the beggars!

Let's read the letter.

"Today Stella is yours alone. You will find the key in the envelope. You know our secret passage. I am waiting for you after the presentation. This night is our night."

I envy the poet again.

I am rich - he is loved.

And the almighty devil himself could not reconcile us.

Thrower and sage - are there any more hostile souls?

№2. Couplets

Let the poet dream of immortality,

Composing poems about life.

Let him sing love, sing.

There is no immortality, but death is alive.

We are all her lackeys.

Let's go numb before her,

Let's go numb before her.

And only love is an empty deception

We do not dare to forget yet.

The poet sings about love.

Your love sonnet lies.

There is no place for her in the world.

She has no place in the world, no place!

Swear pretty Stella

Promising love to the poet.

You will be mine, dear, dear ...

Hunter, game, chase, target -

This is the essence of the love game.

Lies, poet, your pipe -

Our sinful world is clever.

And god in this world is calculation,

And the whip is his high priest.

Oh, faithful page of fantasies, ..

Oaths are lies, love is a mirage.

The world is not yours, it is forever ours,

He is forever ours, forever ours.

Forever ours!

№ 3. Scene.

LINDORF / glancing at the clock/.

The play has already begun. Stella took the stage.

And this cellar is waiting for Hoffmann to come

with a crowd of students walking.

Well, well, poet ... I will be glad to meet you.

Luther enters, accompanied by servants.

LUTHER / servants/.

Hey lazy people! Lively, idlers - lively!

Meat, cheese, wine, a barrel of beer!

Two candles for each table

The reveler student is pissed off today.

Mugs, glasses!

Live, idlers, live!

I know the temper of my guests.

A little something is wrong, and - a speedy trial.

My tavern will be smashed in an instant.

The doors are in the back, swing open. A crowd of cheerful students burst into the tavern. Among them are Nathanael and Herman.

Prologue
Hoffmann returns home after a tumultuous night. He is in love with a beautiful stranger who lives in the house opposite and named by him Stella.
In the inflamed mind of Hoffmann, two of his alter-egos come to life: the wise, mature and rational Lindorf and the young poet Niklaus. Lindorf and Niklaus in different ways are trying to pry Hoffmann in love. They make fun of him, passing off the apartment bills brought by the porter as a love letter that Hoffmann dreams of receiving from a stranger. Students gather in Hoffmann's room, for whom he is a literary idol and authority. In the midst of a friendly feast, Hoffmann begins a story about his love, as if to understand who this stranger, his beloved, is. Hoffmann engages guests in the presentation of three love stories.

The first love. Olympia
The inventor Spalanzani, with the help of Coppelius, created a virtual girl - Olympia. As soon as he sees Olympia, Hoffmann immediately falls in love with her. Wanting to meet a girl, he introduces himself as a scientist. Coppelius appears, who has come to receive money from Spalanzani, which he owes him for his work. To get rid of Coppelius, Spalanzani hands him a bankruptcy check. Coppelius sells special glasses to Hoffmann. Wearing them, he finds Olympia even more attractive. Spalanzani demonstrates his charming invention to a circle of friends. The invitees listen to a song performed by Olympia. Hoffmann is captivated by her voice, he declares his love to Olympia. But the deception is revealed, Hoffmann realizes that he was in love with an illusion.

Real love. Anthony
Young Antonia, dreaming of a stage, inherited a wonderful voice from her mother, a famous singer. But along with the voice and a terrible disease from which her mother died. Singing can destroy Antonia too. The girl's father, Crespel, tries to save Antonia from meeting with Dr. Miracle, who killed her mother.
Hoffmann accidentally overhears Crespel's conversation with Miracle and learns that Antonia is sick. He takes from her a promise never to sing, to leave dreams of the stage and devote himself to his family. But as soon as Hoffmann leaves, Miracle appears. He tempts Antonia with the glory of the famous singer and the blessings that give her recognition and success. Antonia fancies that it is her mother who is calling her to the stage.

Deceiving love. Juliet
Christmas evening. Friends of Hoffmann arrange a masquerade, disguised as the heroes of Hoffmann's fairy tales. The plot about the capricious courtesan Juliet, her admirer Schlemil and the villainous Dapertutto begins as a home theater performance. Dapertutto orders Juliet to seduce Hoffmann and kidnap his reflection. Obedient to the will of Dapertutto, Juliet conquers Hoffmann and gets what she wants. Reality and fiction are mixed in the restless mind of Hoffmann. He kills Shlemil in order to get the key to Juliet's bedroom, and rushes after the courtesan. But Juliet leaves with a new lover.

Epilogue
Alone, Hoffmann sits in his room. He stared out the window opposite, where the stranger lived. By the look of the empty rooms and the sign, you can understand that she moved out of the apartment. And has she ever been at all? Or is it just fiction? Poetic fantasy? And Hoffman dreamed it all, dreamed it?

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