Les Contes d’Hoffmann, Metropolitan Opera, New York — review

Bartlett Sher’s interpretation of Les Contes d’Hoffmann was a mess at its Met premiere back in 2009. The sets, designed by Michael Yeargan, looked gaudy, the narrative seemed confused, and the stage remained chronically overpopulated.

This misadventure in quaint Offenbachiana, revived on Monday, still leans hard on fussy-busy showbiz. But Gina Lapinski has deftly refocused, even clarified, the action, while a new conductor and mostly new cast have made the plot development propulsive, also taut. As told here, Hoffmann’s tales may not be charming and poetic as they were in the Met’s previous version, produced by Otto Schenk in 1982. Still, the current undertaking, predicated on the dubious Oeser edition (1976), does make reasonable sense on its own frantic terms.

Yves Abel, the conductor, stresses poise at the expense of melodrama. It is refreshing. The cast performs with high ensemble spirits and good theatrical manners. Since everyone prefers intimacy over force — either by intent or by nature — this might be labelled Hoffmann lite. Problems could be worse.

Ever tasteful, Vittorio Grigolo exudes winning impetuosity, intelligence and exuberance as the hero, even though his tenor sounds a bit slender for the task. Kate Lindsey, mistress of the knowing smirk, sustains elegant whimsy as his alter-ego, Nicklausse. Although Hibla Gerzmava was originally scheduled to portray all the heroines, she ended up just repeating her generous, slightly strident Antonia (plus the minor duties of Stella). Erin Morley contributes a sassy-saucy coloratura caricature as Olympia, and Christine Rice creates a bravely sensual Giulietta. For all his resourcefulness, Thomas Hampson can muster neither the darkness nor the depth demanded of the four villains.

Sher’s most striking inspirations — aka distractions — include five identical dancing dolls chez Spalanzani and a bevy of showgirls modelling only bikini bottoms plus pasties. He also does away with the crucial portrait of Antonia’s late Mum. One wonders what he will add or subtract for Verdi’s Otello on opening night next season. One also worries . . .

metopera.org