Course Info
HNRS125 Fall 2010
The Arts in New York City
Mondays 9:15 am - 12:05 pm
Honors Hall Room 09Contact
Professor M. Healey
Email: meghanhealey@hotmail.com
Office Hour: M 12:15-1:30Tsai-Shiou Hsieh (ITF)
Email: tsaishiou.hsieh@qc.cuny.edu
Office Hours: Mon. 9-1, Wed. 4-6
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Les Contes D’Hoffman
It was definitely a magical night. The sets and inhumanly, beautiful voices captivated me.
Looking back, there was this extremely apparent build up to the exuberant feeling I felt when the show ended. At first when the opera began, I had to adjust to reading the translation and paying attention to the story and the scenes and the voices. Les Contes D’Hoffman was a lot to take in. But by the second act I found my rhythm. I think that is maybe why I connected most to the second act. I was adjusted to what was going on around me, and my eyes and ears were able to work harmoniously to appreciate the sound and sights taking place. I also really enjoyed the performance by the woman who played Antonia. I have a thing for subtleties and that is what her performance and the whole second act were about. In deep contrast to act I, act II was a simple set and it created eerie and melancholy feeling for the audience. I love simplistic feel of the screens with delicately branched trees on them, and the fabric on the ground that created the illusion of snow. The scenes in act II put an emphasis on silhouettes. For instance, there was the black outline of the horse and carriage and the haunting images of people pacing behind the tree, both so beautiful. There were moments when Antonia’s voice and the music flowing from the ground beneath her were so in sync. I cannot even describe the feeling I had during those moments. It was completely out of body.
The last scene, when Hoffman and his muse were back in the bar, and the muse is wearing her brightly nude gown again, really brought the entire production together. The harmony and sadness of that moment was intensely apparent. I forgot the exact words, but they were singing something about how basically you can learn from sorrows and failed love. The muse tells Hoffman to extract genius from his sorrows. This concept of life experiences and troubles breeding enlightenment has recently been floating in my head and following me around. In philosophy, I read a quote by John Dewey where he says, “Experience is primarily a process of undergoing: a process of standing something; of suffering and passion, of affection…The organism has to endure, to undergo, the consequences of its own actions.” And along with all the joy and grandeur of this opera I really felt this underlying theme. This idea also reminds me of the character Tobin writing “The Metal Children” as a relief for his broken heart. Something else I have taken from this opera is that lots of beer in a German pub is the real solution to life’s complexities. 🙂 (Just kidding…)
When I was younger my parents would always take my family to Broadway shows. We would all put on cute outfits and drive into the city. The feeling I felt in a Broadway theatre was anticipation and excitement. Sitting in a plush seat in a large, ornately decorated theatre can do that to you.
But Tuesday night the Metropolitan Opera gave me a completely new feeling. I could literally taste the energy in the air. It was like a million different particles were zooming around the theatre waiting for the show to begin. Looking around at the audience, I had this realization that I was part of something great. It is not just the performance that creates an overall experience; it is the audience as well.
Unlike when I was a kid, sitting in Lincoln Center among an older crowd of opera patrons made me like I was part of history. It actually really brought me back in time. I know this idea is a little over the top, but there were actual moments where I felt like I was an actress in a period piece. The decorated theatre, the box seats, audience members with gold binoculars, to me it was all part of an elaborate historical set.
To people who go to operas all the time this feeling may seem absurd. But to me, part of the enchantment of the performance was the place it took me to. America today is not classy and grand like the opera is. Our society has shifted from that grandeur and is now focused on technology and celebrity and making everything bigger and better.
Perhaps that is what makes the Opera so pertinent and important for younger generations. It is a taste of the culture and atmosphere of the past. It is a way for us to experience and hold on to a tradition that seems so out of place in America today. It is simply magical.
Before you even step out of the house, have you ever woken up thinking, “oh man, today is really going to suck!” Well, that was my first impressions of opera. I imagined fat people in elaborate gowns reaching glass-shattering notes in a performance I could not at all relate to. My view immediately changed after reading what would be part of Act I in Contes D’Hoffman. The story was fantastic, and the opera was just as amazing.
I loved it.
I adored it.
The music was beautiful.
The music was one of my favorite parts, since I could not understand the words (which was not as big of a problem as I thought it would be) the instruments and singing blended together in my ears, creating a harmony that was always varied. Sometimes the music was merry and sometimes it was as dramatic as the actions taking place.
In addition to the music, I found the costumes very interesting. The first act had more modern costumes than those in acts II and III, which were large, intricate gowns. The latter costumes reminded me again of my view of traditional opera.
I think this different in costume was important because it highlighted the difference between traditional opera and emerging ideas of opera. The first act itself felt more modern than the songs and dress of acts II and III. There was also less movement in the later acts and more of a focus on singing. Even though I really liked it, I felt that I related more to the first act and the prologue. It was cute, fun, and even the colorful scenery caught my eye and added to this impression.
The opera itself did a good job relating to a young audience. After having my longest day of classes and not even close to a satisfying amount of sleep, I was able to stay awake and fully engaged the entire time. And, as far as I know, the rest of the class stayed awake. That really means a lot. For such an old art form, I find it can easily relate to young generations. The story itself is something many people can relate to, it narrates a man’s experience in finding love. There are times when we think he is foolish, times when we pity him and times that we do not understand. We can connect to Hoffman.
As for the performance itself, I can see how younger audience members would not connect as much. There are so many aspects of the performance: reading the subtitles and correlating them to the actions, listening to the singing and music, and just understanding a confusing part (like stealing the reflection, what was all that about??). In other words, there becomes so much to observe that it may be overwhelming. But at the same time I find it very enjoyable. If one does not like classical music they can focus on the costumes of the play, or the scenery, or one of a bunch of other aspects.
Even though it is in another language it can easily speak to a younger generation because it is a beautiful work of art. However, I must point out that in order for me to enjoy the opera, I could not be daring and shut off the translation. I needed it to understand and enjoy the performance. Perhaps someone who does not like reading subtitles would not enjoy the opera as much as I did. Either way, I look forward to my next opportunity to go to the opera. Hopefully I will be fully energized and I can wear a fancy gown like all the older women we saw there, wouldn’t that be exciting?
No Longer an (Opera) Virgin: Les Contes D’Hoffmann
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).
Contes D’Hoffman
If you want to see a spectacular, entertaining, enjoyable performance, then Contes D’Hoffman is definitely the performance to see. The stage was an unbelievable sight during all three acts of the opera. I especially loved the stage design and costumes at the end of the first act, when Olympia was dancing for the patrons of Spalazzi’s. The bright colors and glittery set were absolutely amazing. Additionally, the singing and dancing made the opera even more enjoyable.
As my first opera, I had no idea what to expect. I am happy, however, that Contes D’Hoffman was the first opera I saw. I love to see performances that are loves stories, and this performance had three. Since we read about it in advance, I understood the main themes in the opera, and was able to better understand the story line as it was unfolding during the performance. The first act was easiest to follow, especially since we read the specific story of Olympia before we saw the performance. I didn’t particularly like looking back and forth from the stage to the subtitles on the seat in front of me, so I ended up mostly watching only the stage during the performance.
Although at times it was difficult to follow the opera, mainly because it was in French, it still appealed to people of our generation. I thought some of the costumes were a bit too revealing, but this was mainly a result of the director’s aim to please a younger audience. During the scenes in the bar, when the women came out practically naked, I was wondering if Offenbach pictured these costumes (or lack thereof) when he wrote the opera. Throughout the rest of the show, the women wore beautiful dresses and gowns, very different from the old fashioned, conservative costumes I had envisioned for operas. At certain times during the performance, the costumes even started to remind me of a Broadway show, mainly due to the loud, vibrant colors.
Antonia, Hoffman’s lover in the second act, had a soft, beautiful voice, and a gentle costume to match. Its neutral, light color displayed her innocence and soft nature. This was a wonderful contrast to the character of Olympia who was a robot. The character of Antonia sang from her heart and wanted to pursue her passion even though her father would not allow her too. On the contrary, Olympia did exactly what her father told her to do, since her father programmed her and she had no mind of her own.
We learned in class that different people enjoy different aspects of the opera, and I personally liked looking at the stage and listening to the music, even if I didn’t always know what the performers were singing. I still find myself singing Klick, Klack. Klick Klack.
I thought every single performer was incredibly talented. The singer who played Hoffman carried the entire performance. I was happy that most of the singers acted and moved around as they were singing, and were not just blocked and doing the “park and bark.” I remember distinctly waiting outside for the opera to start and saying that I wanted to see a performance at the ballet. I’m happy to say that I was able to see the dance performance I had been hoping to see. I couldn’t help but smile when the characters performing the part of Olympia came onto the stage on pointe. The dancing performed by the main Olympia at the end of the first act could have been a dance performance all on its own.
Overall, I am happy that I had the opportunity to see this opera and am looking forward to returning to Lincoln Center to see another opera.