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Sun. Sept. 15, 2019, 5:30 p.m. - 9 p.m. Vienna

Jacques Offenbach

Les Contes d'Hoffmann

Conductor: Frédéric Chaslin, Director: Andrei Serban
With Yosep Kang, Gaëlle Arquez, Luca Pisaroni, Michael Laurenz, Olga Peretyatko, Olga Peretyatko, Olga Peretyatko

 

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Frédéric Chaslin | Conductor

The conductor, pianist, composer and author Frédéric Chaslin was born in Paris and received his training at the conservatoire of his hometown as well as the Mozarteum in Salzburg. In 1989 he began his career as the assistant of Daniel Barenboim in Paris and at the Bayreuther Festspielen. In 1991, he became the assistant to Pierre Boulez with the Ensemble Intercontemporain. Frédéric Chaslin gave his international debut as a conductor in 1993 at the Bregenz Festival. He was then the musical director at the Opera in Rouen. From 1999 to 2002, he was the chief conductor of the Jerusalem Symphony Orchestra. In 2002 he gave his debut at the New York Metropolitan Opera. His performances have led him, among others to Berlin, Munich, Leipzig, Madrid, Barcelona, Rome, Venice, Paris, London, Los Angeles and Tokyo. He gave his debut at the Wiener Staatsoper in 1997 and directed a large number of performances, like Il bar­biere di Siviglia, La Bohème, Les Contes d’Hoffmann, L’elisir d’amore, Guillaume Tell, Lucia di Lammermoor, Macbeth, Tosca, La traviata, I puritani, Roberto Devereux, Stiffelio, Mefistofele, Werther and La Juive.

 

 

Yosep Kang | Hoffmann

The tenor YOSEP KANG studied in Seoul, Salzburg and Berlin. He is a prize-winner of several singing competitions. In 2002, he sang Conte d’Almaviva with the Vienna Chamber Orchestra. He went on to sing this work at the Berlin State Opera, in Stuttgart, Essen, Hannover, Cologne and Wiesbaden. Other engagements have led among others, as Nemorino to Görlitz, as Tamino in Stuttgart and Graz, as Alfredo in Stuttgart, Mannheim and Wiesbaden, as Edgardo to Hannover and Wiesbaden, as Rosenkavalier-Singer at the Komische Oper in Berlin, to Munich, Dresden and Cologne, as Don Ottavio to Klagenfurt and as Rodolfo to Lyon and Vienna. At the Vienna State Opera, he has already sung Rodolfo.

Luca Pisaroni | Lindorf/Coppélius/Miracel/Dapertutto

Luca Pisaroni grew up in Busseto and studied at the Verdi Conservatory in Milan, in Buenos Aires and in New York. Pisaroni made his opera debut in 2001 as Figaro (Le nozze di Figaro) in Klagenfurt. The same year he was awarded the Eberhard Waechter Medal. Numerous engagements have for example led him to the Salzburger Festspiele, where he sang Figaro (Le nozze di Figaro), Douglas D’Angus (La donna del lago) and Hercules (Alceste), to the New York Metropolitan Opera as Figaro and Leporello, to Baden-Baden (Leporello), to the Theatre des Champs-Élysees as Figaro and Papageno (Die Zauberflöte), to Houston as Conte d’Almaviva (Le nozze di Figaro), to the Paris Opera Bastille as Figaro, Leporello (Don Giovanni) and Melisso (Alcina), to Glyndebourne as Guglielmo (Cosi fan tutte) and Leporello, to Madrid (as Figaro), to Aix-en-Provence as Publio (La clemenza di Tito) and to Brussels as Achilla (Giulio Cesare), to the Nederlandse Opera (Ercole in Ercole Amante) and to Santiago de Chile (Alidoro in La cenerentola). Recently he sang the title role in Rossini´s Maometto at Santa Fe Opera and Conte d'Almaviva in Paris. He made his debut at the Wiener Staatsoper in 2011 singing the title role in Mozart´s Le nozze di Figaro and sang also Enrico VIII. (Anna Bolena, Japan guest appearance).
 

Michael Laurenz | Andrès/Cochenille/Frantz/Pitichinaccio

MICHAEL LAURENZ comes from Halle an der Saale in Germany and started his career in music as a trumpeter, playing e.g. with Gustav Mahler Jugendorchester and later on as first trumpet with Berliner Symphoniker. In 2006 he turned his focus towards singing. After some time as a member of Opernstudio Zurich, he became an ensemble member in the same city in 2010. The same year, he made his debut at Bregenz Festival, where he returned in 2014. Since 2010 he has been performing regularly at Opéra national de Paris, and in 2012 he debuted at Salzburg Festival. He has also sung at Bayerische Staatsoper, Musikfest Stuttgart, Staatsoper Unter den Linden and Vlaamse Opera. In 2015 he performed in Amsterdam, Milan and at Theater an der Wien, among others. His concert repertoire reaches from Bach all the way to the 20th century. He is scheduled to sing at Brecht festival Augsburg/Kurt Weill-Fest Dessau, in Glyndebourne, Lyon, Zurich, Antwerp and at Teatro alla Scala. He joined the Vienna State Opera ensemble at the beginning of the 2018 season.

Olga Peretyatko | Olympia

Olga Peretyatko was born in St. Petersburg and began her music career at the age of 15 in the children´s choir of the Mariinskij Theatre. She completed the study of choir conducting before she began a vocal arts study at the Hanns Eisler-Hochschule fur Musik in Berlin. She won numerous scholarships and prizes, among them the 2nd prize at Placido Domingo´s Operalia singing competition in Paris in 2007. Between 2005 and 2007 Olga Peretyatko was member of the opera studio of the Hamburgische Staatsoper. Engagements lead the singer to the Deutsche Oper Berlin, the Staatsoper Berlin, to the Staatsoper Munich, the Theatre des Champs-Elysees in Paris, to the New York Metropolitan Opera, to Lausanne, Amsterdam, Pesaro, Washington, the Salzburger Festspiele, the La Fenice in Venice, to Baden-Baden, La Scala, the Arena di Verona as well as to the Rossini Opera Festival in Pesaro, the Festival La Folle journee de Nantes and to Aix-en-Provence. Olga Peretyatko´s repertoire includes roles such as Adina, Gilda, Lucia di Lammermoor, Giulietta (I Capuleti e i Montecchi), Alcina, Juliette, Fiakermilli, Oscar, Konigin der Nacht, Violetta.

Olga Peretyatko | Antonia

Olga Peretyatko was born in St. Petersburg and began her music career at the age of 15 in the children´s choir of the Mariinskij Theatre. She completed the study of choir conducting before she began a vocal arts study at the Hanns Eisler-Hochschule fur Musik in Berlin. She won numerous scholarships and prizes, among them the 2nd prize at Placido Domingo´s Operalia singing competition in Paris in 2007. Between 2005 and 2007 Olga Peretyatko was member of the opera studio of the Hamburgische Staatsoper. Engagements lead the singer to the Deutsche Oper Berlin, the Staatsoper Berlin, to the Staatsoper Munich, the Theatre des Champs-Elysees in Paris, to the New York Metropolitan Opera, to Lausanne, Amsterdam, Pesaro, Washington, the Salzburger Festspiele, the La Fenice in Venice, to Baden-Baden, La Scala, the Arena di Verona as well as to the Rossini Opera Festival in Pesaro, the Festival La Folle journee de Nantes and to Aix-en-Provence. Olga Peretyatko´s repertoire includes roles such as Adina, Gilda, Lucia di Lammermoor, Giulietta (I Capuleti e i Montecchi), Alcina, Juliette, Fiakermilli, Oscar, Konigin der Nacht, Violetta.

Olga Peretyatko | Giulietta

Olga Peretyatko was born in St. Petersburg and began her music career at the age of 15 in the children´s choir of the Mariinskij Theatre. She completed the study of choir conducting before she began a vocal arts study at the Hanns Eisler-Hochschule fur Musik in Berlin. She won numerous scholarships and prizes, among them the 2nd prize at Placido Domingo´s Operalia singing competition in Paris in 2007. Between 2005 and 2007 Olga Peretyatko was member of the opera studio of the Hamburgische Staatsoper. Engagements lead the singer to the Deutsche Oper Berlin, the Staatsoper Berlin, to the Staatsoper Munich, the Theatre des Champs-Elysees in Paris, to the New York Metropolitan Opera, to Lausanne, Amsterdam, Pesaro, Washington, the Salzburger Festspiele, the La Fenice in Venice, to Baden-Baden, La Scala, the Arena di Verona as well as to the Rossini Opera Festival in Pesaro, the Festival La Folle journee de Nantes and to Aix-en-Provence. Olga Peretyatko´s repertoire includes roles such as Adina, Gilda, Lucia di Lammermoor, Giulietta (I Capuleti e i Montecchi), Alcina, Juliette, Fiakermilli, Oscar, Konigin der Nacht, Violetta.

PROLOGUE  The poet Hoffmann sits at his writing table. Spirits of wine and beer arrive and then vanish. Hoffmann's Muse appears, swearing to protect him from the dangers of love. She will transform herself into Nicklausse, a young student, to guide Hoffmann.  Councillor Lindorf intercepts Andrès, who is employed by Stella, a lovely opera singer appearing this evening in Don Giovanni. Lindorf bribes Andrès to get a letter from Stella to Hoffmann. The letter is a declaration of love for the poet, and includes the key to her dressing room. Lindorf may be old and pitiful-looking, but he has power and money. He intends tonight to steal Stella from Hoffmann. In Luther's tavern, waiters prepare the tables for the arrival of Hoffmann, a regular client. Boisterous students invade the tavern, demand wine, curse Luther, toast Stella, and wait impatiently for Hoffmann. He arri¬ves with Nicklausse. Hoffmann seems tormented, gloomy; still, the students insist he sings a funny song about Kleinzack the dwarf. As Hoffmann describes the grotesque creature, his mind wanders and he describes a beautiful woman instead. The students bring him out of his reverie. Waiters light the punch. Hoffmann spots Lindorf and sees in him the eternal antagonist who ruins his luck in everything, especially love. Their curiosity roused, the students demand that Hoffmann tell them the name of his mistress. There are three, he answers: Olympia, a young girl; Antonia, an artist; and Giulietta, a courtesan. The students decide not to return to the opera - they prefer to smoke their pipes and to listen to Hoffmann's tales of his three loves.  Act 1 - OLYMPIA  Physics is Spalanzani’s passion, and this eccentric inventor has constructed a perfect automaton with such genuinely human traits that he passes it off as his daughter, Olympia. Tonight he will present Olympia to society. He's counting on his latest creation to help him recoup 500 ducats that he lost when his banker, Elias, failed. The first guest arrives early; it's Hoffmann, his student, who has been admiring Olympia from afar. Left alone for a moment with her, Hoffmann gets one glimpse of Olympia and falls in love. Nicklausse warns him off, compa¬ring his new love with a doll with enamel eyes. Is this a presen-timent? Coppélius enters, introducing himself as a friend to Spalanzani. In fact, he has come to reclaim the eyes he constructed for Olympia unless Spalanzani can pay him off. In the meantime, Coppélius tries to sell Hoffmann his strange inventions - barometers, hygrometers and pairs of lovely eyes. Nicklausse is skeptical, but Hoffmann eagerly buys some magic glasses that make his dreams of Olympia appear real.  Spalanzani returns and is alarmed to find Coppélius waiting. Coppélius wants a share of the profits, and Spalanzani sends him away with a bad check drawn on the bankrupt Elias. As he leaves, Coppélius advises Spalanzani to marry Olympia off to Hoffmann. Cochenille, a servant, announces the guests have arrived. The guests marvel over the enchanting Olympia, who sings as Cochenille accompanies her on the harp. Her exquisite song is interrupted at times by strange mechanical noises, but Hoff¬mann, dazzled by his magic glasses, listens rapturously. Left alone with Olympia, Hoffmann declares his love and believes he is loved in return. But at their first embrace, Olympia runs away. Nicklausse bursts in with some disturbing rumors about Olympia that are circulating at the party. Hoffmann ignores the warning and runs off in search of his beloved. Coppélius promises to avenge himself on Spalanzani, who tried to swindle him with a worthless check. The guests return. Hoff¬mann waltzes with Olympia, who quickens the pace to such a frenzy that she seems to have gone quite mad. Hoffmann falls and breaks his magic glasses; Olympia must be taken away. Coppélius is waiting for her. He smashes the doll to pieces. Hoffmann realizes his folly: he was in love with an automaton.  Act 2 - ANTONIA  A young girl sings a nostalgic song about her lost love. Anto¬nia Crespel dreams of becoming a famous diva like her mother, who is now dead. But Antonia doesn't know that she has inherited her mother's fatal illness as well as her glorious voice. To save his daughter's life, Crespel must keep Antonia from excitement and exertion. He forbids her to sing and prohi¬bits all relations with her lover Hoffmann. Crespel instructs the old, deaf servant Frantz not to open the door to anyone. Frantz is happy to be alone to sing away his frustrations Hoffmann bursts in looking for Antonia, who rushes in at the sound of his voice. The two declare their love and promise to marry. Hoff¬mann begs her to sing. She happily obliges him, but at the end of the song she nearly faints. Crespel returns. Antonia runs away; Hoffmann hides. Frantz announces the arrival of Dr. Miracle, the family physician. Crespel denounces Miracle, calling him a murderer who will destroy his daughter as he destroyed her mother. Dr. Miracle demonstrates his hypnotic powers. Hoffmann understands now that Antonia is in danger; if she sings, she will die. At his urging, Antonia reluctantly agrees to give up singing and her dreams of fame. Dr. Miracle, however, doesn't give up on anything. He returns to torment Antonia, asking her if she can sacrifice her talent to be a middle-class housewife. At first she withstands temptation, but when Miracle conjures up the voice and image of her mother, she can resist no longer - she must sing. Goaded on by the demonic doctor, Antonia sings herself to death. In desperation, Crespel turns on Hoffmann, but Nicklausse is there to restrain the grieving father. They are all too late: the devil has triumphed once again, aided by his servant, Frantz.  Act 3 - GIULlETTA  Giulietta the beautiful courtesan and Nicklausse sing a barca¬rolle to this “night of love". Disappointed in love, Hoffmann has become a cynic who prefers wine and cards to women. Schlémil and Pittichinaccio, fight for Giuliettas affections. Nick¬lausse tells Hoffmann he will drag him off at the first sign of infatuation. Hoffmann scoffs at this: only a fool could lose his heart to a courtesan. As the two friends leave, Dapertutto appears and vows that Hoffmann will indeed lose his heart ¬- to the bewitching Giulietta. A woman will gladly lose her soul for a glittering jewel says Dapertutto as he uses a diamond to lure Giulietta to him. To keep the diamond, Giulietta must promise Dapertutto that she will seduce from Hoffmann his reflection - just as she bewitched Schlémil to get his shadow. Giulietta uses her wiles to captivate Hoffmann. His sincerity touches her - for a moment she seems to want to save him. But in the end, Hoffmann falls under her spell and offers her not only his image but his soul. Schlémil finds the two alone together and is enflamed with jealousy. “Let's kill him,” suggests Pittichinaccio.  The gondolas come to take Giulietta away. Hoffmann demands that Schlémil give up the key to her room. The two men prepare to fight. Dapertutto lends Hoffmann his sword. Schlémil is fatally wounded. Hoffmann takes the key, but when he looks for Giulietta, she has forsaken him, choosing a diamond instead of his love.  EPILOGUE  So ends the tales of Hoffmann, the story of his three loves. When Nicklausse suggests that Stella is the incarnation of all three women, Hoffmann attacks his mentor in a drunken rage. By the time Stella arrives, Hoffmann has drunk himself into oblivion. Andrès, now in Lindorf's service, introduces Stella to the Councillor, who triumphantly escorts her to his car. Abandoning the character of Nicklausse, the Muse assumes her true form. She promises to ease Hoffmann's sufferings, telling him that love in life is an illusion. The suffering poet returns to his writing desk to continue his search in his Art.