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Gran Teatre Del Liceu GRAN TEATRE DEL LICEU LES CONTES D'HOFFMANN CHAN TEATRE DEL LICEU Primavera 19Só EL REGUlADOR BAGUÉS Rambla de les Flors. 105 Carme.1 Telèfon 317 1974 08002 Barcelona Passeig de Gràcia. 41 Telèfon 216 01 73 - 216 01 74 08007 Barcelona CONSORCI DEL GRAN TEATRE DEL LICEU Sani Pau. 6 GENERAun:r DE CATALUNYA AJUNTAMENT - DE BARCEWNA Telèfons 317 32 46 31B 57 37 SOCI ETAT DEL CRAN TEATRE DEL LICEU 08001 Barcelona �------- (is)--------.,��:s1 LES CONTES D'HOFFMANN Opera fantàstica en 3 actes inspirada en el drama de J. Barbier i Michel Carré Música de J. Offenbach Dimecres, 4 de juny de 1986, a les 21 h., funció núm. torn III "'----... -- 8, ---- - --- -- 8 de de a -. --- Diumenge, juny 1986, les 17 h., -- - --- ----- funció núm. 9, torn TARDA -�_.- Dijous, 12 de juny de 1986, a les 21 h., funció núm. 10, torn I ------------------------(iS�----------------�----���? LES CONTES ])'I-IOFFMANN Olympia Enedina Lloris Giulietta Viorica Cortez Antonia Lucy Peacock Stella Isolda Vilaresau Nicklausse . Hedwig Fassbender Una veu I Hoffmann Alfredo Kraus Spalanzani Jean-Christophe Benoi t Nathanael Alfredo Heilbron Crespel Philippe Bohée Luther Vicenç Esteve Andres Agffi"'Go�... " .. ,.�o( Cochenille T/N eH Riccardo "Eugenio Pi tichinaccio Cassinelli Frantz - - Caribe Cuba México Lindorf ----- Coppelius ----- al 31 Michael Devlin Dell Agosto Dapertutto - * Barcelona - Madeira - Puerto Rico - Santo Domingo Jamaica Miracle - - Veracruz (México) - Cozumel (México) Habana Hermann Jesús Castillón - - - - Haiti - St. Thomas Azores Lisboa Barcelona. * Schlemil Vicenç Esteve • Director d'Orquestra Enrique Ricci Directors del Cor Romano Gandolfi Vittorio Sicuri Director d'Escena Giuseppe de Tomasi Nova producció Gran Teatre del Liceu Decoracions Ferruccio Villagrossi realitzades per «La Bottega Veneziana» Vestuari Pier-Luciano Cavallotti realitzat per Arrigo - Milà Violins concertinos Jaume Francesch Josep M.: Alpiste Informes e inscripciones YBARRA Y CIA. ORQUESTRA SIMFONICA l COR BARCELONA Vía 30 Tel. 3198100 Layetana. DEL GRAN TEATRE DEL LICEU Y en todas las AGENCIAS DE VIAJES EL CONTINGUT MUSICAL , NOTA PRÈVIA Offenbach va morir sense haver aca- bat «Els contes de Hoffmann» iper si fos poc, una gran part de l'autògraf va quedar destruït arran de l'incendi de l'Opéra-Comique, el 1887. Actualment, per tant, circulen diverses versions d'a­ questa òpera que presenten petites di­ ferències entre si i que poden canviar peces de lloc, incloure més o menys recitatius i fins i tot alterar el nombre de cantants que participen en l'òpera (depenen t de si els tres personatges femenins els canta una mateixa perso­ na o no). PROLEG Resum. A una taverna de Munic la Musa de la Poesia fa saber que vol que el poeta Hoff­ mann sigui només seu i que renunciï a tenir cap altre amor. Mentrestant, un regidor de la ciutat, Lindorf, enamorat de Stella, des­ cobreix per una carta d'aquesta que té un rival en Hoffmann. Aquest, mentrestant, beu a la taverna i ex­ plica els seus amors a la concurrència. L'òpera comença amb una breu i molt vigorosa intro­ ducció orquestral. Tot seguit sentim el cant dels espe­ rits invisibles del vi i de la cervesa que entonen un brin­ dis. Entre aquests cants apareix la Musa, que declara que ella ha estat, juntament amb el vi, la causa de la inspiració de tanta gent i que vol que Hoffmann, el poeta que tants cops s'hi ha inspirat, li pertanyi exclu­ sivament. ROSA BISBE ART/DISSENY Després d'aquest passatge, es fa la llum en escena i veiem l'interior de la taverna de mestre Luther, GANDUXER, 20 propera a un teatre. El de la està TELEFONO 201 65 90 regidor ciutat, Lindorf, par­ lant amb Andrès, criat d'una dama, Stella. Amb diners, RBLA. CATALUNYA, 121 el criat li doni una carta de Stella, per "GALERIAS LA AVENIDA" aconsegueix que la Lindorf s'assabenta té relacions BARCELONA qual que aquesta amoroses amb el poeta Hoffmann. El regidor es dispo­ sa a anar al camerino de Stella abans que no hi arribi el seu rival i fer seva la dama. Se senten aleshores els aplaudiments: al teatre proper s'ha acabat el primer acte del «Don Giovanni" de Mozart. L'amo de la taver­ na es prepara per l'entrada de clients durant el des­ cans. Entra ara un grup d'alegres estudiants, entre els quals Hermann i Nathanael. Es desenvolupa així una alegre escena de beguda i cant. Enmig d'aquesta alegria entren Hoffmann (tenor) i Nicklausse, amic seu (inter­ pretat per una mezzo-soprano). Aquest aHudeix per un moment a la melodia de Leporello en el «Don Giovanni", però Hoffmann el fa callar. Els estudiants animen Hoffmann perquè canti i aquest inicia la cèlebre « Balada de Kleinzach». Tot seguit Lindorf i Hoffmann es troben i inicien una baralla dialèctica, mentre Nicklausse, Hermann, Natha­ nael i altres estudiants fan comentaris entre divertits i admiratius. Hoffmann acaba recordant els tres grans amors que ha tingut en el passat i a petició de la� con­ currència, accedeix a explicar-los detalladament. I co­ mença amb la frase: «El nom de la primera era Olírn­ pial- i l'escena s'enfosqueix, deixant pas al primer acte, que generalment s'interpreta sense interrupció. ACTE I Resum. Hoffmann arriba a casa de Spa­ lanzani, el qual, juntament amb el seu criat Cochenille, està acabant d'arreglar un dels seus invents: la nina mecànica Olímpia, tan perfecta que pot passar per una persona real. Entra Hoffmann, que s'enamora de la nina, que es pensa que és la filla de Spalanzani. Nicklausse es burla d'aquesta passió, però Hoffmann no en fa cas. Se celebra una festa que Spalanzani ha organitzat per fer funció­ nar Olímpia sense que ningú no s'adoni del seu caràcter mecànic. Però Hoffmann, que insisteix a ballar amb ella, queda alterat pel caràcter cada cop més frenètic de la nina, el mecanisme de la qual es dispara. Spalanzani fa retirar la mecànica Olímpia a la seva ha­ bitació i tot seguit se sent un gran estrèpit: el co-inventor de la nina, Coppélius, que ha estat desposseït per Spalanzani, es revenja fent a bocins la nina. Hoffmann queda acla­ parat en descobrir que l'estimada era una autòmata. --------- (hl-----------,'��tFf>; un minuet fa L'acte s'inicia amb vigorós i rítmic que Nicklausse evita que Hoffmann la segueixi, insinuant­ i de pòrtic de l'escena entre Spalanzani Cochenille, .que li que no és una criatura viva, però el protagonista, cada ha acaben d'arranjar Olímpia, la nina que Spalanzani cop més enamorat, acaba per anar-li al darrera. inventat, però que ha pogut completar mercès als ulls Tornen Coppélius i Spalanzani, barallant-se, però co­ Ara que li ha venut un òptic, el vell Coppélius. Spalan­ mença el ball i al ritme del vals apareix també Hoff­ zani confia fer-se ric amb l'invent i espera que podrà mann, al qual Spalanzani dóna la nina perquè hi balli. esquivar les reclamacions de Coppélius. Entra Hoff­ Els invitats observen admirats la dansa que Hoffmann n'enamora mann, que ha vist Olímpia de lluny � s.e i�­ i la nina duen a terme, cada cop més ràpidament. Sur­ mediatament. Hoffmann canta una ana punyent dedi­ ten d'escena i se sent un crit de Hoffmann; Spalanzani cada al seu amor. Entra Nicklausse, que' ha vingut a intenta deturar la dansa, i Nicklausse s'hi apropa en cercar Hoffmann per intentar apartar-lo d'aquest amor el moment que tornen a passar els dos frenètics balla­ sense sentit, i per burlar-se'n li canta l'ària «Une poupée rins, però és rebutjat violentament. Spalanzani toca fi­ i molt es en aux yeux d'érnail», de caire lleuger típicament nalment l'espatlla d'Olírnpia i la nina detura sec. francesa. Hoffmann se sorprèn de la cançó de l'amic i Cochenille se l'enduu mentre Nicklausse examina Hoff­ de l'actitud parada i absent d'Olírnpia, que Spalanzani mann, que ha perdut parcialment els sentits. Mentre manté tancada a la seva habitació. Entra ara Coppé­ es recupera se sent un soroll d'un mecanisme que es a la i ofe­ lius, que alludeix als ulls que ha coHocat nina trenca. Cochenille ho explica: Coppélius, furiós, ha tren­ reix objectes d'òptica a Hoffmann, a més d'ulls autèn­ cat la nina. Mentre Spalanzani i Coppélius bescanvien tics (Coppélius, amb veu de baix, canta l'ària d'ai des insults, Hoffmann entra a la cambra d'Olímpia i torna de vrais una nina mecànica! Els yeux, fai yeux»). aclaparat: era, efectivament, Mentre Hoffmann se'n va, Coppélius i Spalanzani dIS­ invitats se'n riuen, de Hoffmann, mentre baixa el teló. la cuteixen pel preu que Coppélius voldria .cobrar pe,r. seva participació en la fabricació de la runa. Coppehus ACTE II Resum. Hoffmann explica ara el seu amor aconsella a l'inventor que casi la nina amb Hoffmann, per Giulietta, una cortesana veneciana. El ja que n'està follament enamorat. seu antic amant, Schlernil, repta Hoffmann Arriben els invitats a la Iesta (interessant passatge co­ a un duel, però el poeta surt vencedor. ral) i entren novament Hoffmann i Nicklausse. Spalan­ Dapertutto, un mag diabòlic, aspira a do­ li can­ zani, per demostrar les habilitats d'Olírnpia fa minar Hoffmann a través de Giulietta, i tar una ària, que la nina canta amb veu ,d� sopran? demana a aquesta que robi la imatge del lleugera i amb una gran quantitat de mecaniques agi­ seu enamorat per mitjà d'un mirall. Ella ho litats, d'un gran efecte, mentre Spalanzani l'ac�mpanya fa, i després abandona Hoffmann. Daper­ amb l'arpa (ària «Les oiseaux dans la charmille», un tutto intenta treure's del davant Nicklausse, dels passatges més extraordinaris d'aquesta òpera).
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