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Les Contes d’Hoffmann © A. Bofill

Offenbach Les Contes d’Hoffmann

From 19 January TO 01 February 2021
Gran Teatre del Liceu - Barcelona
Program

Offenbach : Les Contes d’Hoffmann

2h45
Cast
  • Conductor
    Jordan de Souza
  • Director
    Laurent Pelly
  • Performers
    Hoffmann: Arturo Chacón-Cruz
    Lindorf/Coppélius/ Dr. Miracle/Dapertutto: Roberto Tagliavini
    Olympia: Rocío Pérez
    Antonia: Ermonela Jaho
    Giulietta: Ginger Costa-Jackson
    La Muse/Nicklausse: Marina Viotti
    Andrès, Cochenille, Frantz, Pitichinaccio: Vincent Ordonneau
  • Venue Info
  • Seating Plan
  • Synopsis

Gran Teatre del Liceu - Barcelona Location La Rambla, 51-59 - 08002 Barcelona Espagne

  • Venue's Capacity: 2290
  • Other : PRICE: The Gran Teatre del Liceu uses "Dynamic Pricing" that means that Prices for all performances are subject to change (increase and decrease) based on their sales. So, the prices may have changed, you will be informed of the new price as soon as possible, you will then be able to choose wether you want to buy your tickets at the new price or to cancel your booking (your credit card will not be charged).

The Venue's History in few words …

On 4 April 1847, the Gran Teatre del Liceu established by Miguel Garriga, opened its doors with a very diverse programme. Anna Bolena by Donizetti was one of the major events here. In 1861, the theatre caught fire. It was rebuilt one year later to become the true rival of the old Santa Gran Teatre. At the end of the 19th century, the Liceu became the venue where people came to see and be seen; which is why the shows were performed with the house lights left on.

The work of national composers was rarely performed. However, among them were several highly esteemed composers, including GURIDI, ARRIETA and BRETON. The great French operas did not take hold quite as quickly as the Italian repertoire. It was in 1851 that Robert le diable was performed. Enthusiasm for MEYERBEER reached its peak with the performance of the play Les Huguenots in 1856; he is one of the most frequently performed composers in the history of the Liceu. This fascination of the public for the French repertoire grew with the performances of GOUNOD’s Faust in 1864 which was considered, with its 26 consecutive performances, as the last word in opera. At the end of the 19th century, the Liceu was one of the leading opera houses in Europe. Verdi was performed there, as were the great French operas, and national composers such as Felip PEDRELL and Wagner. Die Walküre caused a sensation and the house lights of the Liceu were put out for the first time.

The performance of Mussorgsky’s Boris Godunov on 20 November 1915 marked the beginning of a period of splendour for Russian opera at the Liceu. When the second republic was proclaimed in 1931, political instability led to a serious financial crisis which badly affected the Liceu. During the civil war, the Liceu was nationalised and took the name “Gran Teatre del Liceu”. Its seasons were later suspended.

The activities of the Liceu began again in 1939 under the aegis of the Spanish and German authorities, subject to the propaganda of the Third Reich. Wagner was the most frequently performed composer during this period. In 1955, for the first time in its history, the Festival of Bayreuth was held at the Gran Teatre del Liceu. Germany felt the need to make up for its recent past. Barcelona was an obvious choice, given its longstanding Wagnerian tradition and the authoritarian regime that kept away any hostile element.

On 31 January 1994, the Liceu was once again destroyed by fire and it was rebuilt on the same site. The new building opened in 1999 offering great artistic and technological quality whilst respecting the former décor which had been reproduced. Its stage allows two or three performances at the same time with maximum visibility and an improved acoustic quality.

Gran Teatre del Liceu

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Les Contes d’Hoffmann

LES CONTES D'HOFFMAN, THE LEGENDARY GERMAN OPERA OF COMEDY AND TRAGEDY

The Opernhaus Zurich's version of the legendary German opera, translated into English as The Tales of Hoffmann brings one of the best loved works of the nineteenth century to the European stage.

This beloved opera by Jacques Offenbach is based on five short stories by the German romantic author E.T.A. Hoffmann. Premiering in 1881, Les contes d'Hoffmann has been a fixture of the opera circuit because of the interesting nature of the stories that make up the prologue, three acts and epilogue.

HISTORY

Les contes d'Hoffmann is set in the nineteenth century and focuses on the life of E.T.A. Hoffmann himself as the main character in the opera. Asked by his competitor, Lindorf to tell those gathered in a tavern about his three great loves, Hoffmann does so through portions of the stories he published during the nineteenth century romantic period of German literature.

Act 1

After being challenged to reveal his great loves by Lindorf in the epilogue, Hoffmann tells the story of Der Sandmann. With one of the most famous songs in the opera, The Doll Song, this popular act tells the story of Hoffmann falling in love with a mechanical robot known as Olympia. Not knowing she is a robot, Hoffmann falls in love and is then ridiculed when the inventor of the doll tears her apart over his unpaid fees.

Act 2

Known as Antonia, the second act of the opera details the doomed love Hoffmann has for Antonia, who has been hidden from Hoffmann by her father, Crespel. Based on the story Rath Krespel, the father of Antonia briefly explains that his daughter will die is she sings again because of an unnamed illness. To protect her from Hoffmann, who encourages Antonia in her singing career he has hidden his daughter from the author. With Hoffmann trying to free his lover from the house the mysterious Dr. Miracle sets out to destroy Antonia by encouraging her to sing, instead of curing her of her illness.

Act 3

A more mysterious tale than the others in the opera, the third act tells the story of Hoffmann's time in Venice. Here, Hoffmann falls in love with Giuilietta, a courtesan who has promised to steal the reflection of Hoffmann, as she has stolen the shadows and reflections of other men before him. Spurred on by Captain Daperutto, Giuilietta steals Hoffmann's reflection before tragedy strikes to end Hoffmann's last tale of love.

MAIN ROLES

E.T.A. Hoffmann, the poet and author, tenor
Olympia, the doll, soprano
Antonia, young girl and Hoffmann's lover, soprano
Giuilietta, courtesan, soprano
Stella, singer, soprano
Lindorf, Coppelius, Dr. Miracle, Dapertutto, the embodiments of evil, bass-baritone

Gran Teatre del Liceu © A. Bofill

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