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Les Contes d'Hoffmann
This recording offers a fascinating glimpse into the very early career of Placido Domingo. Hearing Domingo in his 20s is a compelling testament to the idea that a star is born, not made. He delivers not only the vocal brilliance that would define his career but also an artistic maturity far beyond his years. Beverly Sills takes on all three heroines, and while she seems most vocally at ease in the Olympia scene, she skillfully shapes Antonia and Giulietta to play to her strengths, infusing each with the vivid commitment that characterized all her performances. Norman Treigle is outstanding in the roles of the four villains, delivering a chilling and nuanced portrayal. Marlena Malas, here performing under her maiden name Kleinman, shines as a wonderfully boyish Niklausse. The epilogue was not included in this performance.
Track List
Prologue
1. Glou glou glou glou
2. Oui, chère Primadonna
3. Vite, vite! qu'on se remue!
4. Eh! Luther! ma grosse tonne!
5. Va pour Kleinzach!
6. Peuh! cette bière est détestable
2. Oui, chère Primadonna
3. Vite, vite! qu'on se remue!
4. Eh! Luther! ma grosse tonne!
5. Va pour Kleinzach!
6. Peuh! cette bière est détestable
Olympia Act
7. La… dors en paix
8. Allons! courage et confiance
9. Pardieu! j'étais bien sûr de te trouver ici!
10. Une poupée aux yeux d'émail
11. C'est-moi, Coppélius…
12. J'ai des yeux, de beaux yeux
13. Non aucun hôte vraiment
14. Les oiseaux dans la charmille
15. Ah! mon ami! quel accent!
16. Voici les valseurs!
17. Ah!.. Quoi?.. l'homme aux lunettes, là!
8. Allons! courage et confiance
9. Pardieu! j'étais bien sûr de te trouver ici!
10. Une poupée aux yeux d'émail
11. C'est-moi, Coppélius…
12. J'ai des yeux, de beaux yeux
13. Non aucun hôte vraiment
14. Les oiseaux dans la charmille
15. Ah! mon ami! quel accent!
16. Voici les valseurs!
17. Ah!.. Quoi?.. l'homme aux lunettes, là!
Giulietta Act
18. Belle nuit, ô nuit d'amour
19. Je vois qu'on est en fête
20. Allez! pour te livrer combat… Scintille, diamant
21. Cher ange!
22. Ô Dieu, de quelle ivresse
23. Au jourd'hui cependant, affermis mon courage
24. Schlémil!… J'en étais sûr: Ensemble!
25. Hélas mon coeur s'égare encore
26. Écoutez, messieurs
19. Je vois qu'on est en fête
20. Allez! pour te livrer combat… Scintille, diamant
21. Cher ange!
22. Ô Dieu, de quelle ivresse
23. Au jourd'hui cependant, affermis mon courage
24. Schlémil!… J'en étais sûr: Ensemble!
25. Hélas mon coeur s'égare encore
26. Écoutez, messieurs
Antonia
27. Elle a fui, la tourterelle!
28. Malheureuse enfant!…
29. Jour et nuit, je me mets en quatre
30. Frantz! C'est ici!
31. Qu'as-tu donc?… Rien!
32. Tu ne chanteras plus?
33. Chère enfant que j'appelle comme autrefois
34. Mon enfant!… ma fille!…
28. Malheureuse enfant!…
29. Jour et nuit, je me mets en quatre
30. Frantz! C'est ici!
31. Qu'as-tu donc?… Rien!
32. Tu ne chanteras plus?
33. Chère enfant que j'appelle comme autrefois
34. Mon enfant!… ma fille!…
Customer Reviews
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5.0
Based on 5 reviews
✓ Verified Buyer
United States
✓ Top Reviewer
JACQUES OFFENBACH'S LES CONTES D'HOFFMANN
A fabulous live performance! Highly recommended! A must!
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✓ Top Reviewer
United States
Wonderful Hoffmann from NYCO!
After a little research, I was able to find out that this performance was given by the NYCO while on tour in Philadelphia. It was given in the then new and exciting Tito Capobianco production that eliminated the Epilogue so that final scene isn't missing, it just was not performed. According to someone who saw the production, Sills did appear briefly as Stella though she didn't have any lines.Sills is heard here in her prime. Olympia is sung with brilliance, Giulietta with haughty disdain, and Antonia with great pathos (and a great C-sharp at the end of the trio). Domingo sounds incredibly mature and confident, especially considering he was all of 25. Treigle dominates the performance as he always did not only with his powerful bass-baritone, but with a personality that practically pops out of the disc. He is enthusiastically applauded for his Diamond Aria. Castel is a delight as the four servants. A young Ara Berberian is heard as Crespel. Rudel was a great opera conductor and he shows why here with his firm, yet flexible baton.The sound for an in-house of the period is excellent, the voices heard clearly, only sounding recessed when the singers wander upstage. There is a ridiculous disc break right before the Sextet (all of the Giulietta act could have been accommodated on the second disc). Nevertheless this is a recording that any lovers of this opera or of these singers should have.
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✓ Top Reviewer
Hungary
JÁNOS KÁDÁR
exciting performance with the great Beverly Sills in the four soprano roles and the young Domingo in the beginning of his glorious career.
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✓ Verified Buyer
Jim Johnson
This is my fourth version of Hoffmann with Treigle and Sills. A young Domingo puts this one over the top. If you do’t have a Hoffmann recording, this is the one for you.
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