[Met Performance] CID:189350
Les Contes d'Hoffmann {100} Metropolitan Opera House: 11/27/1961.

(Review)


Metropolitan Opera House
November 27, 1961


LES CONTES D'HOFFMANN {100}
Jacques Offenbach-Jules Barbier


Hoffmann................Nicolai Gedda
Olympia.................Laurel Hurley
Giulietta...............Rosalind Elias
Antonia.................Lucine Amara
Stella..................Nancy King
Lindorf.................George London
Coppélius...............George London
Dappertutto.............George London
Dr. Miracle.............George London
Nicklausse..............Helen Vanni
Andrès..................Alessio De Paolis
Cochenille..............Alessio De Paolis
Pitichinaccio...........Alessio De Paolis
Frantz..................Alessio De Paolis
Luther..................George Cehanovsky
Nathanael...............Robert Nagy
Hermann.................Roald Reitan
Spalanzani..............Paul Franke
Schlemil................Clifford Harvuot
Crespel.................Norman Scott
Mother's Voice..........Mignon Dunn

Conductor...............Jean Morel

Director................Cyril Ritchard
Designer................Rolf Gérard

Review of Francis D. Perkins in the New York Herald Tribune

'Hoffmann' Sung Again At the Met

When Offenbach's "Contes d'Hoffmann" had its first performance of the season at the Metropolitan Opera house seventeen days ago, Anna Moffo represented all four of the characters whom Hoffmann had loved and lost. In last night's third performance, however, these roles were separately assigned, with Laurel Hurley as Olympia, Rosalind Elias as Giulietta, Lucine Amara as Antonia and Nancy King as La Stella. They had also played these parts as substitutes for Miss Moffo on November 18.

Olympia, Giulietta and Antonia can be sung by an artist of sufficient versatility, but call for voices of differing types and timbres which were appropriately supplied by the singers concerned in this performance. Miss Hurley's fluent tones combined clarity with an occasional brittleness suggesting the fact that Olympia is merely a mechanical doll, which was also revealed in her acting. Miss Elias' Giulietta was a sultry siren whose tones, despite some touches of hardness, had a pronounced color which was very suitable for this role. An occasional edginess did not offset the marked appeal of Miss Amara's singing and its impression of genuine emotion.

Nicolai Gedda was again in notable vocal and dramatic form as Hoffmann, and George London again represented the four principal sources of Hoffmann's frustration and Helen Vanni reappeared as Nicklausse. Jean Morel conducted a musical interpretation which proved satisfying in its balance and pacing.



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