[Met Performance] CID:136290
Les Contes d'Hoffmann {59} American Academy of Music, Philadelphia, Pennsylvania: 12/21/1943.
(Review)
Philadelphia, Pennsylvania
December 21, 1943
LES CONTES D'HOFFMANN {59}
Jacques Offenbach-Jules Barbier
Hoffmann................Raoul Jobin
Olympia.................Patrice Munsel
Giulietta...............Lily Djanel
Antonia.................Jarmila Novotna
Stella..................Nina Youskevitch
Lindorf.................Mack Harrell
Coppélius...............Ezio Pinza
Dappertutto.............Martial Singher
Dr. Miracle.............Ezio Pinza
Nicklausse..............Hertha Glaz
Muse....................Lily Djanel
Andrès..................Lodovico Oliviero
Cochenille..............Lodovico Oliviero
Pitichinaccio...........Alessio De Paolis
Frantz..................Alessio De Paolis
Luther..................Gerhard Pechner
Nathanael...............John Dudley
Hermann.................Walter Cassel
Spalanzani..............Alessio De Paolis
Schlemil................John Gurney
Crespel.................Nicola Moscona
Mother's Voice..........Margaret Harshaw
Dance...................Michael Arshansky
Conductor...............Thomas Beecham
Director................Herbert Graf
Set designer............Joseph Urban
Costume designer........Mary Percy Schenck
Choreographer...........Laurent Novikoff
Review of Margaret Kaye in the Philadelphia Inquirer
Metropolitan "Hoffman" Calls for Superlatives
"Tales of Hoffman" has been classified as light opera, and it has been classified as grand opera, but "grand" is the only classification for the production and performance of it presented by the Metropolitan Opera Association at the Academy last night with a star-studded cast.
From the power house in the orchestra pit, namely Sir Thomas Beecham, electrical current went out from the first notes of the introduction, traveled through the orchestra, across the footlights and vitalized the entire company.
ELEMENTS ARE VARIED
Offenbach's own judgment of his "Tales of Hoffman," is well founded. There is in it light opera and operetta, while the thrilling and dramatic third act is most certainly grand opera. It abounds with short and meaty roles requiring excellent singing and, furthermore, fine acting. While primarily an opera, the purely theatrical factor is a dominant one. The story itself has a distinctly modern interest, for it is a psychological study of inherent tragedy, and is told by Offenbach in musical comedy style, most beautifully and successfully. This is really a feat of genius.
The brightest stars of last night's performance were Jarmila Novotna, as the tragic Antonia; Ezio Pinza, who doubled in brass as Coppelius and Dr. Miracle. Patrice Munsel, newest star of the Metropolitan, as Olympia, Raoul Jobin as Hoffman and Martial Singher as Dappertutto.
EAR-FILLING ROLES
Mme. Novotna was eye-filling and heart-wringing as she fought against the evil genius of Dr. Miracle, a Mephisto-like creature, acted and sung to the hilt by Mr. Pinza. Patrice Munsel, who made her debut here as Olympia, the mechanical doll with whom Hoffman falls in love, disclosed a lovely, clear and withal substantial coloratura voice, excellently trained. She has charm, personality, and is delightful to look upon. Anyone would love to find her sitting under a Christmas tree. Her performance as the doll was pert, graceful and wonderfully mechanical. Raoul Jobin, as the teller of the tales, was in excellent voice and contributed a polished dramatic performance.
Martial Singher also made his Philadelphia deubt as Dappertutto. The role is a short one, but Mr. Singher made it an important one both vocally and dramatically. Other members of the cast, all of whom were in top form, were Lily Djanel, Herta Glaz, Alessio de Paolis, John Gurney, Mack Harrell, Nicola Moscona, Lodovico Oliviero and Margaret Harshaw.
The settings and costumes wore a touch of Broadway, and the entire direction of the production was unusually imaginative and well executed.
The performance as a whole requires superlatives. It was a magnificently integrated piece of work and is one of the finest productions from all angles that the Metropolitan has brought to Philadelphia in many seasons.