Four stars for Lyric’s season opener, “Hoffmann”
After an absence of nearly 30 years, Jacques Offenbach’s posthumous 1881 opera “The Tales of Hoffmann” (“Les contes d’ Hoffmann”) made a triumphant return Saturday to the Lyric Opera of Chicago.
Everything clicked marvelously into place for “Hoffman,” making it a sparkling and winning season opener for the 57-year-old Lyric.
Originally staged by director Nicholas Joel, this “Hoffmann” production may have been borrowed, but it fit the Civic Opera House to a tee (director Stéphane Roche solidly restaged it for Lyric). And with French conductor Emmanuel Villaume masterfully leading the Lyric Opera Orchestra, this “Hoffmann” was pure musical enchantment from start to finish.
Conceptually set largely in 19th century train terminal (a wonderfully geometric set design by Ezio Frigerio featuring curving steel beams and simulated stained glass and atmospherically relit by lighting designer Jason Brown), Joel’s appealing visual framework tied together Offenbach’s episodic and symbolically open-to-interpretation opera by suggesting storytelling journeys to the work’s multiple locations in Germany, France and Italy. The scenery could also metaphorically suggest how the opera’s romantic and alcoholic story-spinning title character cannot keep up with an increasingly mechanized society.
Tenor and Wilmette native Matthew Polenzani made a compelling role debut as the ardent but repeatedly luckless-in-love title character who relives his fantastical failings to woo three past loves (based upon tales by “Nutcracker” author E.T.A. Hoffmann) and a current one named Stella (first-year Ryan Opera Center soprano Emily Birsan in a cameo).
Repeatedly thwarting Hoffmann at ever turn was the bass-baritone James Morris, sounding in fine voice as he dramatically alternated his devilish villain guises ranging from the playfully vindictive optics inventor Coppélius to a deathly sinister Dr. Miracle. Morris also appeared quite dapper in a red circus ringmaster coat, one of many appealing costume designs by Franca Squarciapino at the top and conclusion of the opera.
Also accompanying Hoffmann through his journeys was Emily Fons in a wonderfully acted and sung take on the trouser role of Nicklausse (who later transforms into the Muse of Poetry, but is also a muse of booze in this production).
Instead of casting one soprano to play each of Hoffmann’s past loves, the Lyric opted to split up the roles for three different aurally attractive singers.
In terms of audience approval, Anna Christy won hands down as the mechanical doll Olympia thanks to her spot-on comic timing (even her high-flying coloratura vocalizing sounded slightly shaky on opening night).
Erin Wall was appropriately tragic as the sickly Antonia who literally sings herself to death, while Alyson Cambridge was very alluring as the materialistic and deceitful Venetian courtesan Giulietta.
Other standouts include tenor Rodell Rosel in string of truly amusing servant roles and mezzo-soprano Jamie Barton as the haunting voice of Antonia’s late mother.
Though new Lyric general director Anthony Freud didn’t have a direct hand in overseeing the current season, let’s hope that this stunning “Hoffmann” portends a continued run of excellence for Chicago’s flagship opera company.
The Tales of Hoffmann
Location: Lyric Opera of Chicago, 20 N. Wacker Drive, Chicago; (312) 332-2244, ext. 5600 or Lyricopera.org.
Showtimes: 7:30 p.m. Wednesday, Oct. 5, Saturday, Oct. 15, Tuesday, Oct. 18, Friday, Oct. 21, Monday, Oct. 24, Saturday, Oct. 29; 2 p.m. Sunday, Oct. 9, Wednesday, Oct. 12; runs through Oct. 29. Sung in French with projected English translations
Running time: Approximately 3 1/2 hours with two intermissions
Tickets: $39-$244
Parking: area pay garages
Rating: some sexuality in Act III (fully clothed simulated copulating) might be questionable for kids