Peter Maag must have had Hoffmann complex; his edition here is similar to the one he uses in Buenos Aires a decade later (and in the original French). Dialogue replaces some of the recitatives, certain leading and finishing chords are absent, and the Epilogue is musically different from other editions. It's effective and isn't too long (a problem with the modern Michael Kaye edition where there's just too much music).Lazzari sings and acts Hoffmann very passionately. He leaves out some of the expected high notes, but that may be Maag's choice, not his. Bruscantini sings a strong Diamond aria and delineates the four villains well. Freni is a dream as Antonia; she has all the high notes and then some. Sellas chirps Olympia in an appropriately doll-like manner; she uses only a slight variant in the cadenza at the end of her song and there's no concluding E-flat. Her waltz roulades are fleet if a little out-of-tune. Fusco has a fine voice and does what she can with Giulietta, though she isn't given much to do. Maag gives her the main statement of the Septet. I'm not sure how the Giulietta act was concluded because only the Barcarolle is played, few of the customary lines spoken.The other singers are all very characterful and fit into Maag's concept well. Sound is from a good radio broadcast. The audience seems puzzled by it all, not applauding where most do. An enjoyable performance then with some rarely heard singers.

“I racconti di Hoffmann” employs a cogent, wholly romantic version of the score; a time before all the discovered, uncovered and recovered additions and editions. Lazzari’s slender tenor penetrates as it ascends. Lazzarini is a standout Nicklausse. Bruscantini is suave and satanic. Sellas is note-perfect in two verses, no variants. Freni is “Antonia-issima”! Mandalari’s Madre is more “fantasma” than “diva” in the Trio. Fusco’s voice is warm but lacks a deeper sensuality. Hoffmann’s “Couplets” in the Venice scene is cut, as is the Intermezzo Barcarolle. Maag gives a sonorous, never ponderous reading. Sound very clear, but turn up the volume!

What CONTES D’HOFFMANN used to sound like before the original score(s) were rediscovered. Italian version makes it sound a bit like Ponchielli or Catalani, but the singing goes from very good (Lazzari) to astounding (Freni & Bruscantini). The conductor is a first-rate interpreter. Not to be missed, unless you are of the strictly philological kind.