Parlez-vous français? . . . I didn’t think so. In fact, I’m sure even someone who spoke perfect French would have a little trouble understanding the singers from the opera Les Contes D’Hoffmann. But even with a language barrier, one has to appreciate fine music and incredible voices (subtitles help too). I’ll admit, I had a predetermined image in my mind what that night was going to be like: a big fancy theatre (which was correct), over priced food and drink (again correct), lots of well dressed (if not over the top in some cases) richer people (correct once more), and a group of over weight, big voiced singers who spouted classical sounding music from their over worked lungs and throat. That’s where I was proven wrong completely. Not only were some of them skinny (gasp!) but also, they sounded incredible, and the music was much better than I expected.
So Les Contes D’Hoffmann isn’t the big, bad, boring thing I thought it was going to be. I enjoyed it, and I’d love to go again (with better seats though, I think my vision decreased again…). Opera has been given a bad name and is considered the “old rich people’s entertainment,” especially by younger audiences who stick to movies, TV, and the occasionally rare play or musical. What these “opera virgins” don’t know is that opera is an incredible experience, its something so unique, that a big time Broadway musical cannot be compared on the same level.
This production spoke volumes to me (albeit in a foreign language) and everything about it-the music, the characters, the plot-provided an entertaining and memorable experience. The music was something I didn’t expect at all; it was both meaningful and serious, or romantic or even comical, like when Hoffmann told the story of Kleinzach the dwarf (klick klack, klick klack!). I’m sure I’m not the only one of our group that enjoyed the performance; despite the fact that I could swear I saw one or two heads droop down from time to time.
What I found so intriguing about the plot was that each act contained some of the same actors playing different parts, obviously Hoffmann was present throughout, but the use of the same person to play the nemesis in all four parts really placed emphasis on the different incarnations of evil. And the three “loves” representing the three faucets of Stella, the prima donna, the woman he falls for, was brilliant. The character of the Muse and Nicklausse was especially interesting to watch, because the ways in which “Nicklausse” tries to warn Hoffmann show the character’s sympathy and patience. However, everyone has a point of frustration, which was met during every act; but watching the Muse walk off to one side and watch with a face of disappointment and aggravation really made her relatable.
So even though “Je ne comprends pas le français,” I can appreciate the beauty and poetry of the songs in the performance. Maybe it was a fluke that I enjoyed it, or maybe I should start to consider the opera in a more positive light. I won’t be sure ‘til I hear the fat lady sing (again).
