It is quite surprising that Jacques Offenbach's most recognizable opera is the serious "Tales of Hoffmann," since the composer is usually associated with operas of the comedic variety. The grand opera is famous for its many challenges to singers (not the least of which is performing in a three-and-a-half-hour-long production), but the cast of the Boston Lyric Opera (BLO) has met them triumphantly in their enchanting season opener.
Offenbach died before his opera was completed, leaving much interpretation of the opera open to the company performing it. BLO has fortunately decided to take chances with the artistic direction of the production, using whimsical, M.C. Escher-esque backdrops and dreamlike shadowing for a refreshing take on the 100-year-old opera.
André Barbe's costume and set design offer an innovative view into the mind of Hoffmann, the tortured poet and title character. Struggling with his love for an opera diva, Hoffmann drunkenly tells the stories of his three loves -- each a different facet of his haughty prima donna -- while the actress performs in the background.
Those three loves -- a mechanical doll, a young, proud singer and a courtesan -- are all played by the same singer, Georgia Jarman. Jarman displays commendable versatility and vocal power: One minute she is singing whole steps above high C as a sex robot, the next she is crying on the floor next to Hoffmann's dead mother.
In every one of Hoffmann's tales, his love is ultimately taken away by his nemesis, the evil baritone, played by Gaètan Laperrière. He is an interesting actor to watch on stage, because he truly changes characters in his roles as wealthy lover, murderous doctor, cheated entrepreneur and pimp.
Perhaps one of the most interesting characters in the production is Hoffmann's doppelganger, or his "better nature." Infatuated with each of his romantic interests, Hoffmann faces denial and disappointment at every turn. His "better nature" is his muse, presented to the audience as Hoffmann's pageboy, who quite literally sings reason into his ear. Michèle Losier is wonderfully comedic in the role, presenting herself both as Hoffmann's pal who is only looking out for him and as the beautiful muse who wants him to spurn his tawdry loves and turn his affection to her -- his art and true calling.
The muse is covered in metallic makeup to appear like a classical statue, further cutting her off from the notice of the humans on stage. The only other character with this makeup is the character of Offenbach himself, played by Matthew DiBattista. Both the muse and Offenbach are used as subordinates to the "real people," helping by miming during "The Legend of Kleinzach" or serving as helping roles in evolving the plot of Hoffmann's stories.
The bold costumes and sets suit the opera very well in most places, bringing the entire fantasy world of Hoffmann's tales to life. It goes too far in a few places -- Andrea Coleman's aria as the deceased mother of one of Hoffmann's loves is overshadowed by the enormous angel-cage in which she is placed. The garish, mirrored gondola setting of the tale of the courtesan is at times overwhelming, though for the most part it is pleasing and innovative. One particularly striking choice is the scattering of pages of Hoffmann's poetry over the stage for the duration of the show, so that his characters are literally moving from one page to the next.
The singers are strong and, with very few exceptions, do not allow the bold artistic direction to upstage their performances. Gerard Powers is a commanding presence on stage as Hoffmann, truly leading every story he tells. Ulysses Thomas is compelling to watch as the father of one of Hoffmann's loves, nearly stealing the entire story for his own subplot with inner turmoil over the deaths of his wife and daughter.
The singers are led seamlessly through the opera by Boston Pops conductor Keith Lockhart, who paces the movement well. The success of the production lies in the cohesion of the impressive musical performances, compelling acting and beautiful, avant-garde artistic direction. Offenbach may not have seen his "Tales" while he was alive, but thanks to Boston Lyric Opera, modern audiences can enjoy his whimsical world long after his death.
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The Tales of Hoffman
Written by Jacques Offenbach
Directed by Renaud Doucet
At the Boston Lyric Opera through Nov. 18
Tickets $33 to $194
