Interludes

THE HANGOVER REPORT – The thrilling Vittorio Grigolo leads a coolly menacing LES CONTES D’HOFFMANN

• By drediman
• September 27, 2017
• No Comments

Vittorio Grigolo leads Offenbach’s “Les Contes d’Hoffmann” at the Metropolitan Opera

Is it that time of year again? With this past Monday’s premiere of David McVicar’s new production of Bellini’s Norma, the Met’s 2017-2018 season was off and running. Last night, I caught the opening performance of the Met’s production of Offenbach’s Les Contes d’Hoffmann in a production by Bartlett Sher (first seen in 2009), one of the theater world’s most sought-after artists and one of General Manager Peter Gelb’s go-to directors. Offenbach’s opera is a psychological thriller of sorts – it tells the surreal story of Hoffmann (based on German writer E.T.A. Hoffmann), a young man who recounts his numerous doomed love affairs, all the while pursued by a devilish, seemingly supernatural, rival.

Mr. Sher’s has created many stagings for the Met over the past decade or so, and they’ve consistently been elegant, if at times a bit dull, affairs. This shadowy Hoffmann is one of his very best efforts, effectively combining Kafka-esque menace with a chilling, cool gaze. He treats the opera’s play on reality versus fiction vis-à-vis memory – themes that coincidentally resonate profoundly in Michel van der Aa’s immersive Blank Out which is currently running at the Park Avenue Armory – with great care. The production has a focused, stripped-down look, which works well for Mr. Sher’s vision; the Magritte-inspired sets are by Mr. Sher’s long-time collaborator Michael Yeargan, and the sharply-drawn costumes are by the great Catherine Zuber.

Last night’s music-making was solid all around. This run is being led by the thrilling Italian tenor Vittorio Grigolo, who returns to the title role after playing Hoffmann at the Met two years ago. His is an ideal instrument, producing a forceful, powerful sound and effortless top notes. He’s also a naturally ardent presence, which sometimes works against Mr. Sher’s subtlety-concocted drama. But no matter, he looked and sounded wonderful. Of the doomed heroines, the sopranos Anita Hartig (shimmering, ringing sound) and Erin Morley (creamy, full-bodied voice) were sensational. Rounding out the cast are Laurent Naouri as the opera’s diabolic nemesis and Tara Erraught as our tragic hero’s dual-purpose sidekick/muse; both were serviceable. Under the baton of Johannes Debus, the mighty Met Orchestra sounded luxurious.

RECOMMENDED

LES CONTES D’HOFFMANN
Opera
The Metropolitan Opera
3 hours, 40 minutes (with two intermissions)
Through October 28