‘The Tales of Hoffmann’: Offenbach’s Captivating Opera

A mechanical doll, a young singer, and a Venetian courtesan. All are loved by Hoffmann, the central character of “The Tales of Hoffmann,” a captivating opera wherein reality and fantasy become one.

Based on three stories by E.T.A. Hoffmann, the opera follows the love of Hoffmann for Olympia, Antonia, and Giulietta. Despite being a dark tale, it is filled with melodic richness, instantly recognizable arias, funny moments, and emotional depth. It is also Jacques Offenbach’s last and greatest work, with a fascinating background.

"The Tales of Hoffmann" is based on stories by E.T.A. Hoffmann. Self-portrait, circa 1822. Public Domain

During his lifetime, Offenbach was famous for his operettas, a light operatic genre that he popularized. However, the composer wanted to be remembered for more, and “The Tales of Hoffmann” (“Les Contes d'Hoffmann”), with a libretto written by Jules Barbier, became a masterpiece of French Romantic opera. Unfortunately, Offenbach died before the premiere in Paris, leaving the score incomplete.

Ernest Guiraud completed the score, and the posthumous premiere in 1881 at the Opéra-Comique in Paris was an immediate success. Performed 100 times in its opening year, the “opéra fantastique” gained an immediate following, which endures to this day.

A Compelling Tale

“The Tales of Hoffmann” is one of the most popular works in the opera repertory. Its compelling story, featuring themes of love, music, truth, illusion, art, and science, is unique and continues to fascinate audiences all over the world. Over the years, music scholars have found different manuscripts for the opera and different versions of the score. The order of the acts may vary with each production, but the overall story remains generally the same.

The Olympia act, as staged at the 1881 premiere of "The Tales of Hoffmann." Public Domain

The opera begins with the prologue in Luther’s Tavern in Nuremberg, Germany. Hoffmann is thinking about his love for Stella, a famous opera singer. As always, he is accompanied by his muse, disguised as Nicklausse, the poet’s friend.

A crowd of students arrives at the tavern, and Hoffmann entertains them with the tale of Kleinzach, a legendary dwarf. However, the poet’s mind keeps wandering off, preoccupied with romance. Encouraged by the students, he starts to tell them about his past loves. Councilor Lindorf, Hoffmann’s rival for Stella, plays a crucial role in these and becomes the villain in the three unfortunate love affairs.

Hoffmann’s first love is Olympia, a mechanical doll. He arrives at a party organized by Spalanzani to show off his newest invention and falls deeply in love with Olympia, who he believes to be human despite Nicklausse’s warnings. The doll performs a brilliant aria, and Hoffmann, wearing a pair of magic glasses, is infatuated. The glasses’ maker, Coppélius, who is a representation of Councilor Lindorf, is furious when Spalanzani gives him a bad check for his contribution to making Olympia and so smashes the mechanical doll. Horrified, Hoffmann has to accept that she is not human.

Olympia (Moira Shearer) and Spalanzani/Franz (Léonide Massine), in “The Tales of Hoffmann,” the 1951 film produced by Michael Powell and Emeric Pressburger. London Films/The Archers Company

The young singer Antonia is Hoffmann’s next love. Hoffmann and Nicklausse visit her, and they sing a love song. However, the singing exhausts Antonia and she’s forbidden to sing due to her poor health. The villain, Dr. Miracle, leads her to her death by encouraging her to sing.

In Venice, Hoffmann meets the beautiful courtesan Giulietta and falls in love with her. She is under the influence of Dapertutto, a sorcerer who wishes to procure Hoffmann’s reflection. Giulietta carries out the magician’s wish, and then breaks Hoffmann’s heart as she takes on a new lover, drifting away in a gondola.

Back in Luther’s Tavern, the “tales” are over. Stella arrives at the tavern and, finding Hoffmann drunk, leaves with Lindorf. Although she declares her eternal love for the poet, Stella tells him to find consolation in his art. Hoffmann begins to awaken, inspired by the various characters. His creative genius is reborn from the ashes of his suffering.

A Memorable Score

“The Tales of Hoffmann,” as well as being a captivating story with great emotional depth, marks Offenbach’s musical genius through a memorable score.

Jacques Offenbach in the 1860s by photographer Adam Cuerden. Public Domain

The “doll aria” is the most famous aria of the opera. It is a florid aria for a coloratura soprano and one of the most demanding in the operatic repertoire. Its music is so difficult that it seems only a machine could sing it, through which the composer explores the lines between fantasy and reality.

Generally, the three heroines are sung by three separate singers with different voice types. However, sometimes one singer sings all the roles to reinforce the idea that they are all facets of Stella. This is an arduous task, demanding great flexibility and technique with different requirements upon the voice—from coloratura to lyric or dramatic soprano.

Another famous piece in this opera is the “Barcarolle,” a duet between Giulietta and Nicklausse about the pleasures of love, generally sung by a soprano and mezzo-soprano. It is one of the most famous and beautiful melodies in opera history.

Many other arias fill this memorable score. A work like no other, “The Tales of Hoffmann” earned its place in the opera repertory through its captivating story and compelling score, with the ultimate message that life experiences can be transformed into great art.