AUDIENCE GUIDE AUDIENCE 2017

- 2018 | Our 59th Season | Issue 4 |Issue Season 59th Our | 2018

March 16—29, 2018 Composed by Jacques Offenbach Original Libretto by Michel Carre and Jules Barbier Adapted and translated by Daniel J. Brylow Orchestraion by Kerry Bieneman

Skylight has joined forces with Ponasik added that Michael “Ding” Milwaukee Opera Theatre for this Lorenz will be featured on percussion, imaginative and kinetic adaptation of performing on many instruments from his Jacques Offenbach’s mesmerizing eclectic collection. The gears and

opera, The Tales of Hoffmann. Although mechanics of the instruments are this is Offenbach’s best-known work, this reflected in the kinetic look and feel of is the first time Skylight has produced it the production, with scenic design by in our nearly 60-year history. We are Lisa Anne Schlenker and lighting design happy to present it with an exciting new by Jason Fassl. English translation and re-orchestration Sung in English, the story centers on the that perfectly captures ‘Skylight Style’ – poet Hoffmann as he reflects on his bringing fresh approaches or interesting multiple quests to find love and balance twists to music theatre works. life and art. E.T.A. Hoffmann, the real-life Jill Anna Ponasik, Skylight’s Artistic inspiration for the title character, is the Associate and Milwaukee Opera author of The Nutcracker and the Mouse Theatre’s Artistic Director is directing. King, on which Tchaikovsky’s ballet, The “In typical Skylight style, we began by Nutcracker, is based. Another standard studying the original piece, and then in the ballet repertoire, Coppélia, with gave it a little yank toward the present music by Léo Delibes, is based upon two day,” said Ponasik. “Daniel J. Brylow, of his stories: Der Sandmann (The who wrote the new English translation/ Sandman) and Die Puppe (The Doll). adaptation took a piece that was over The Tales of Hoffmann features dazzling three hours in length, and by focusing on IN THIS ISSUE music and tour-de-force arias, including the tales themselves, cooked it down to the famous Doll Aria sung by the two hours in length. Typically performed E.T.A. Hoffmann mechanical doll Olympia. "There is by at least 20 singers, with fifteen roles a Twilight Zone quality to these tales, a Jacques Offenbach for men and five for women, Skylight's way in which they are simultaneously production has a cast of 13, with eight The Adaptation familiar and strange, that kindled in me women and five men.” the feeling of sitting around a campfire Synopsis Kerry Bieneman created the new telling scary stories," said Ponasik. “The orchestration, which distills an opera real E.T.A. Hoffmann said, ‘It is nearly Hoffmann’s Letters written for a full orchestra into one that always the most improbable things that uses two pianos, harp and percussion. really come to pass.’ That captures for “The band will be on stage so the us, the kind of intoxicating brew of music, musicians’ technique becomes part of movement and mayhem The Tales of our stage action,” said Ponasik. “It also Hoffmann will bring to audiences.” allows us to delight in the peculiar and otherworldly facets of the score.”

This guide is available online at skylightmusictheatre.org Author E.T.A. Hoffmann Unlike many of the characters that populate the Skylight stage, the hero This production is generously sponsored by of The Tales of Hoffmann is based on a real person: Romantic Era writer, John Shannon and Jan Serr composer, conductor, music critic,

visual artist and legal scholar E.T.A. and Hoffmann. The New Opera Fund Born on January 24, 1776, Ernst created in memory of Theodor Wilhelm Hoffmann began his

Mary Ann Gerlach unconventional life in the German city of Königsberg, currently part of Russia. Two years later, his parents divorced and Hoffmann remained with his mother, but was raised primarily by her two sisters and brother. Season Sponsors The lack of affection from his parents had a profound influence on him, causing him to retreat into an inner world of imagination. This proclivity, in conjunction with the early introduction captured the city in late 1806 and Hoffmann and Mischa fled to her to art, music and literature he received from his aunts and uncle, laid the native Posen, where she and their groundwork for a fruitful artistic output daughter, Caecilia, remained while Hoffmann went to Berlin to work. in the years to come. Early on, he began to show great promise as a During this separation, Caecilia

pianist, writer and visual artist. passed away, and Hoffmann reunited From 1792 to 1795, Hoffmann taught with Mischa in Bamberg, taking a position as kapellmeister with a local music while pursuing a law degree at the University of Königsberg. Toward theater that he later managed. In the the end of his studies, he fell in love literary realm, in 1809, he achieved a breakthrough with the publication of with one of his students, a married woman named Dora Hatt who was ten his first short story, Ritter Gluck (Sir years his senior. Dora’s family Gluck). Research/Writing by objected to the relationship and While living in Bamberg, Hoffmann Daniel J. Brylow arranged that he be relocated to became enamored with his voice Glogau (in present-day Poland), and Justine Leonard student, Julia Marc, who was twenty where he served as a legal clerk for years his junior. This unrequited for ENLIGHTEN, his uncle. passion had a profound effect on his Skylight Music Theatre’s Education Program For the next several years, he moved life and work when the sixteen-year- Edited by Ray Jivoff throughout Prussia, residing in Berlin, old Julia married and moved to Hamburg with her husband in 1812. [email protected] Posen, Płock and Warsaw. During this time, Hoffmann married Marianna The theme of the older man infatuated Margaret Bridges Michalina Rorer (known as “Mischa”) with a younger woman found its way [email protected] and began his first serious attempts at into many of Hoffmann’s stories. writing and composing. Although he lost his position at the Hoffmann’s years in Warsaw were theater, Hoffmann’s literary career among the most fulfilling in his life: he was on the brink of success. After helped to found a Musikalische accepting a post as kapellmeister with Gesellschaft (Musical Society), a theatre troupe in Dresden in 1813, serving as music director, conductor he began work on his Fantasiestücke and composer. He conducted the first (Fantasy Pieces), which were performances of several of his own published in 1814. That same year, he also published Der goldne Topf (The compositions, and he assumed the 158 N. Broadway nom de plume E.T.A. Hoffmann – the Golden Pot), widely regarded as a Milwaukee, WI 53202 “A” standing for “Amadeus” in masterpiece of the fantasy genre as (414) 291-7811 deference to Mozart. However, this well as Hoffmann’s personal favorite. www.skylightmusictheatre.org period was short-lived, as Napoleon

AUDIENCE GUIDE | TALES OF HOFFMANN Hoffmann’s Original Stories The Tales of Hoffmann is based only marvelous power and its strange indirectly on the writing of E.T.A. resonance…but an early death will Hoffmann himself. Initially, three of also be the result.” Hoffmann’s short stories were adapted Once Antonia succumbs to her illness, into a play by Michael Carré and Jules Hoffmann heightens our revulsion by Barbier. It was on this play that contrasting her deceased state with a Offenbach, working with Barbier as his beautiful description: librettist, based his opera. While the play and opera feature Hoffmann “She lay on the couch with her eyes himself as the hero, this is not the closed, smiling sweetly, her hands case with the stories upon which they devoutly folded, as if she were asleep are based. and dreaming of heavenly transports.” Act One, Olympia, is based on a short The final act, Giulietta, is based on Die story, Der Sandmann (The Sandman), Abenteuer der Silvester-Nacht (A New in which the hero, Nathanael, is visited Year’s Eve Adventure) in which the by a demonic spectacle-maker named courtesan Giulietta convinces the hero Coppélius. From the following excerpt, Erasmus to give her his reflection: we can already see the macabre “Giulietta’s kisses burned like fire on manner in which Hoffmann treats his his mouth…and then she released him characters: and stretched out her arms longingly Hoffmann bio continued “Coppélius continued to produce more to the mirror. Erasmus saw his image and more spectacles from pockets step forward independent of all his Throughout the remaining years of his until the table began to gleam and movements, glide into Giulietta’s arms, life, Hoffmann wrote prolifically, flash all over. Thousands of eyes were and disappear with her in a strange publishing two novels and over fifty looking and blinking convulsively and vapor.” short stories, including perhaps his staring up at Nathanael who could not most famous tale, Nußknacker und avert his gaze from the table.” Erasmus later learns that Giulietta and Mausekönig (The Nutcracker and the Dappertutto are agents of the devil. Mouse-King), upon which Upon donning the spectacles, Invoking the name of Christ, Erasmus Tchaikovsky’s ballet is based. Nathanael perceives the mechanical is able to banish the pair, described doll Olympia as a beautiful girl. But vividly below: After Napoleon’s defeat in 1815, he once he discovers her true nature, resumed his legal career at the Hoffmann’s description spares no “Sparks and flashes shot out of Giulietta’s eyes; her face was horribly Kammergericht, Berlin’s highest court, gruesome detail: and oversaw the production of Undine, distorted; her body seemed to glow his most notable accomplishment as “In Olympia’s palid waxen face there with rage…A screaming and howling an operatic composer. were no eyes, merely black holes in broke loose, and a rustling, as of raven their stead…and now Nathanael saw a feathers.” Despite these professional successes, pair of bloody eyes lying on the floor Hoffmann’s final years were plagued staring at him.” These excerpts illustrate the macabre by legal disputes, alcoholism and and fantastical qualities that make illness. He contracted syphilis, which, The second act, Antonia, is based on Hoffmann a progenitor of the fantasy by 1821 caused his muscles to the short story Rath Krespel, genre. Given his imaginative and deteriorate considerably. By 1822, he (Councillor Krespel). As before, ghoulishly delightful writing style, it’s began to experience paralysis, and he fantastical elements are prominently easy to see why Barbier and Carré died of complications of the disease on featured, as in the description of selected these stores as the basis of June 25 of that year. Antonia’s otherworldly singing: their play, and why their popularity, as immortalized in Offenbach’s opera, “The sound of Antonia’s voice was The body of work he left behind endures. inspired subsequent generations of very strange and unusual, resembling artists and scholars across many now the breath of the Aeolian harp, Work Cited: disciplines including Edgar Allan now the warbling of the nightingale... Hoffmann, E.T.A. The Tales of Hoffmann. “The Poe, Charles Dickens, Franz Kafka Antonia, on fire with love and joy, sang Sandman.” Transl. J. T. Bealby. The Heritage and Alfred Hitchcock, but he will and sang all her loveliest melodies.” Press, 1943 always be most remembered for his Adding to the fantastical atmosphere, Hoffmann, E.T.A. The Tales of Hoffmann. contributions to literature, where his “Councillor Krespel.” Transl. Barrows Mussey. Antonia suffers from an improbable The Heritage Press, 1943 influence can still be felt to this day. disease: Hoffmann, E.T.A. “A New Year’s Eve “…an organic flaw in her chest, the Adventure.” Blackmask Online, 2002. http:// Sources Consulted: McGlathery, James M. www.searchengine.org.uk/ebooks/68/65.pdf E.T.A. Hoffmann. Twayne Publishing, 1997. very thing that gives her voice its

2017-2018 | SKYLIGHT MUSIC THEATRE Jacques Offenbach—Composer Offenbach met and fell in love with Hérminie d'Alcain, the daughter of a Spanish general, but he was not in a financial position to propose marriage. He toured France, Germany and England, appearing with some of the most famous musicians of the day, including Felix Mendelssohn and Franz Liszt. Offenbach returned to Paris with his reputation and bank balance much improved. In order to marry, he converted to Roman Catholicism and Offenbach returned to Paris and took he and Hérminie were married in over the Théâtre de la Gaîté for four 1844; she was 17 years old and he years but after a few flops, he went was 25. They had five children and bankrupt. In 1876, a highly successful were happy, despite Offenbach's tour of the United States enabled him extramarital dalliances. to recover some of his losses.

Jacques Offenbach (1819-1880) composer, cellist and impresario is From 1835 to 1855 he earned his In his last years, he was determined best remembered for his development living as a conductor and as a cellist, to finish his first and only grand opera, of the operetta. He created nearly 100 achieving international fame. His Les Contes d'Hoffmann (The Tales of works for the stage from the 1850s– ambition, however, was to compose Hoffmann), often described as an 1870s as well as his only opera, the comic pieces for the musical theatre. opéra-fantastique. Now in failing uncompleted The Tales of Hoffmann. In 1855 he opened his own theater, health, he did not live long enough to the Bouffes-Parisiens. He was its complete the opera. He died of heart Offenbach is credited with writing in a director for more than a decade, failure in Paris on October 5, 1880, at fluent, elegant style with a highly presenting several of his own pieces, the age of 61. developed sense of satire and many of which became popular. characterization. He influenced other Though the opera was left unfinished, operetta composers, particularly In 1858, Offenbach produced his first Les Contes d'Hoffmann was produced Johann Strauss, Jr., Victor Herbert full-length operetta, Orphée aux at the Opéra-Comique four months and Arthur Sullivan (of Gilbert and enfers (Orpheus in the Underworld), after his death. The opera lives on in Sullivan). In more recent times, his which was well received and remains the standard repertory in versions style has inspired the work of Irving one of his most famous works. The completed or edited by other Berlin, Jerome Kern, Richard Rodgers 1860s were Offenbach's golden musicians. The Skylight and and Andrew Lloyd Webber. years: he produced over 18 full-length Milwaukee Opera Theatre are excited operettas, as well as more one-act to present their own adaptation. Jacques Offenbach, was born Jacob pieces. Works from this period include Offenbach, in Cologne, Prussia (now La belle Hélène (1864), La Vie Germany). The son of a cantor, parisienne (1866) and La Périchole Offenbach began playing the violin at (1868). The risqué humor and gentle an early age, then took up the cello. In satire in these pieces, along with 1833 his audition for the Paris Offenbach's facility for melody, made Conservatoire was so impressive that them internationally popular. they waived the rule forbidding admittance of foreigners. Offenbach became associated with the Second French Empire of After a year of study, Offenbach left Napoleon III, who granted him French the Conservatory to study the cello citizenship and the Légion d'Honneur. and musical composition privately and However, with the outbreak of the to play in the prestigious Opéra- Franco-Prussian War in 1870, Comique orchestra. He became one Offenbach fell out of favor in Paris. of the finest cellists in Europe. But, he was very popular in England and Vienna, where his operettas played to large and enthusiastic audiences. While the war ravaged Paris, he supervised Viennese and English productions.

AUDIENCE GUIDE | TALES OF HOFFMANN The Adaptation Because Offenbach died before The Tales of Hoffmann was first performed, no completely definitive edition of the score exists. Nonetheless, many performance traditions have solidified since the opera’s composition. In adapting the opera, the creative team made several changes to commonly accepted performance practice to tailor the production to fit Skylight’s intimate and accessible style.

Original Opera Skylight’s Adaptation Accompanied sung dialogue known as recitative is To advance the plot with increased efficiency, most employed in sections which advance the plot. sections of recitative have been re-written as spoken dialogue.

The opera begins with a lengthy sung Prologue (an entire The Prologue has been shortened considerably and act in its own right), which takes place in a tavern where re-written as a spoken scene between Hoffmann and his Hoffmann tells his tales to a crowd of students. There is a friend Nicklausse. The characters of Stella and Lindorf good deal of intrigue surrounding Hoffmann’s rivalry with have been eliminated. Councilor Lindorf for the affections of an opera singer named Stella. The character of Nicklausse is often portrayed as simply Nicklausse is not only Hoffmann’s friend, but secretly his Hoffmann’s friend and confidante. Muse in disguise. The relationship between Hoffmann and his Muse then becomes a recurring narrative thread that can be traced throughout the stories.

In both the original opera and in Skylight’s adaptation, each of Hoffmann’s three tales tells the story of a woman, Olympia, Antonia, and Giulietta, with whom Hoffmann has had a doomed relationship.

The singer who plays Lindorf takes on the roles of the The singers who portray Olympia, Antonia and Giulietta villains in the tales themselves. In each tale, Hoffmann’s also take on the role of the villain in another of the tales. attempt at love is thwarted by Lindorf in his various In doing so, the specter of Hoffmann’s romantic failures incarnations. becomes the agent by which his subsequent relationships are doomed. Stella is revealed to be the inspiration for Hoffmann’s three love interests.

In many productions, the opera ends tragically: Stella In an alternate ending, Nicklausse is revealed to be rejects Hoffmann in favor of Lindorf, and Hoffmann is left Hoffmann’s Muse and inspires him to break the cycle of to drown his sorrows at the tavern. his failed relationships by channeling his heartache toward artistic aims.

The Olympia Act as staged at the 1881 premiere Scenic design research photo

2017-2018 | SKYLIGHT MUSIC THEATRE Synopsis

Act 1 Act 2

Famed poet E.T.A. Hoffmann has Devastated by this loss, Hoffmann been besieged by writer’s block. finds comfort in the arms of his second Despite his best efforts, the memories love, Antonia, a frail girl who is of his three ill-fated loves still haunt forbidden from singing but him. The Muse of Poetry assumes the nonetheless desires to be a great form of Hoffmann’s friend Nicklausse performer like her mother. After a brief to guide him out of his melancholy, courtship, Antonia’s father Crespel and convinces him to tell her the tales abruptly moves the family far from of the women who broke his heart. Hoffmann’s reach and forbids the two from seeing each other. Undeterred, The first tale takes place at the home Hoffmann searches for Antonia and of the eccentric inventor, Spalanzani, finally discovers her whereabouts. The where Hoffmann has been invited for happily reunited couple sings a joyous the grand debut of Spalanzani’s song of love, but Antonia becomes daughter, Olympia. Unable to wait until strangely fatigued by the singing. the evening, Hoffmann sneaks a peek at Olympia and is instantly enamored Before Hoffmann can inquire further, by her beauty. Meanwhile, the eye- Crespel returns from an errand, and maker Coppélius arrives and demands Hoffmann must hide to avoid being a share in the profits from discovered. To his horror, he watches Spalanzani’s latest invention. as Crespel is visited by the sinister Dr. Hoffmann Miracle who claims that Antonia is sick Spalanzani begrudgingly and needs treatment. Convinced that writes him a check, and Miracle was instrumental in killing his Coppélius leaves to cash it. wife many years ago, Crespel refuses Guests arrive and Olympia is to let him examine Antonia. But introduced, singing a beautiful Miracle is unfazed and diagnoses her but macabre song to the in absentia: she must not sing or she astonishment and delight of will perish from the exertion. Aghast at everyone present. this prospect, Hoffmann begs Antonia never to sing again, and she The guests move to the salon reluctantly agrees. The lovers arrange to continue drinking and to elope and Hoffman leaves to make carousing, leaving Hoffmann preparations. alone with Olympia. He declares his love for her, but Olympia (left) Left alone, Antonia is visited by Dr. Olympia is oddly Miracle, who, despite his prior Antonia (below) unresponsive and wanders diagnosis, now encourages her to off. Without warning, a sing. At first, she stands firm against seething Coppélius returns the temptation, but when Miracle from the bank, furious that invokes the spirit of her beloved Spalanzani’s check was mother, she can no longer resist. After worthless. Exacting his revenge, he an impassioned outburst of song, she begins to maniacally tear Olympia collapses in exhaustion. Hoffmann and apart, revealing her true nature: she is Crespel rush in to save her, but they a mechanical doll. Hoffmann’s shock are too late: Antonia has died. and dismay at this revelation is surpassed only by his grief at losing his beloved Olympia.

Costume designs by Sonya Berlovitz

AUDIENCE GUIDE | TALES OF HOFFMANN

Act 3

After losing Antonia, Hoffmann The Baccarolle which starts the third act of Tales disavows romantic love and pledges of Hoffmann is one of the most famous pieces to seek only hedonistic pleasure, from the opera. It is sung in the original French in which he finds at an opulent party our production. Below are the French lyrics and thrown by the courtesan Giulietta. an English translation: After a tense exchange with her former lover, Schlémil, Giulietta invites Belle nuit, ô nuit d’amour, the partygoers to continue their souris à nos ivresses! festivities at the gambling tables. Nuit plus douce que le jour, ô belle nuit d’amour! Dappertutto With everyone occupied, the wicked Le temps fuit et sans retour. sorcerer Dappertutto entices Giulietta Emporte nos tendresses! with a spellbinding diamond. He offers loin de cet heureux séjour, her a deal: she may have the le temps fuit sans retour. gemstone in exchange for Hoffmann’s Zéphirs embrasés, versez-nous vos caresses, reflection. Unable to resist the zéphirs embrasés, donnez-nous vos baisers. diamond’s sparkle, Giulietta seduces Belle nuit, ô nuit d’amour, Hoffmann and he falls madly in love souris à nous ivresses! with her. Nuit plus douce que le jour, ô belle nuit d’amour! Just then, the jealous Schlémil bursts in to confront Hoffmann. But before Lovely night, oh night of love, the confrontation can escalate, smile on our pleasures! Dappertutto holds a mirror before Time flies without return Hoffmann’s eyes: his reflection is and carries away our fond caresses. gone! Now in possession of her Burning breezes, breathe your caresses on us, precious jewel, Giulietta bids both her breathe your kisses on us! lovers farewell and compels them to Night more sweet than the day, fight over the key to her room. oh lovely night of love.

Hoffmann defeats Schlémil and rushes to Giulietta’s room, just in time to see her floating away on a gondola, cackling at his devastation. Giulietta Completely destroyed by this final rejection, Hoffmann breaks down in tears.

Having listened patiently to the three tales, Nicklausse now reveals herself as Hoffmann’s Muse, and tells him that from the wreckage of his grief, new poetic life will emerge. Inspired by the Muse’s words, Hoffmann begins to channel his suffering into the creation of a towering work of art.

Scenic design by Lisa Anne Schlenker

2017-2018 | SKYLIGHT MUSIC THEATRE Excerpts of Hoffmann’s Letters

Hoffmann’s personal correspondence occupies our intellect, and it …and prone to bouts of self- reveals the quintessential Romantic spreads over us at every deprecation: artist. His feelings, whether elation or thought of happiness a Good thing I am at the bottom of this despair, are always worn explicitly on beneficent sense of gentle sheet of paper, otherwise I would tire the sleeve. From his letters, we can delight. Only through you even more. discern a portrait of an extremely daydreams do friendship and (24 February 1795) passionate and emotionally perceptive love…gain their worth. young man. His exchanges with (12 January 1795) Yet, despite their hyperbole, Theodor Gottlieb von Hippel, whom Hoffmann’s feelings are always He writes of his love for music and Hoffmann often refers to as his “only genuine and sincere, and filled with opera, particularly for Mozart, whom and dearest friend”, are particularly profoundly beautiful imagery: he held in especially high regard: illuminating: A dark, umbrageous night surrounds I now own Don Giovanni and it You mean much to me, more than me – the brightness which breaks provides me with many a blissful hour. anything else in the world…I love you, through the gloom is a dream. I am beginning more and more to I adore you. You are the only one who Perhaps it is more than a dream, fathom Mozart’s truly great genius in understands the innermost stirrings of perhaps even the dawn and first light his compositions. You can hardly my heart and whose entire soul so of a beautiful morning which will finally believe how many new delights gently clings to mine. break through the deep shadows of emerge in the ear of the player, if he… (28 February 1795) the mountain range that separates me goes deeply into the search for the from you. Farewell! Hoffmann also pontificates at right expression in every single bar. (3 October 1796) length about his artistic (4 March 1795) philosophies: Like a true Romantic artist, his As long as we cannot become emotions could be surprisingly fickle… Work Cited: disembodied and separate our I no longer love music…music wraps Hoffmann, E.T.A. Selected Letters of senses from our intellect, we itself around our heart like a lion’s E.T.A. Hoffmann. Edited and must not banish daydreaming. tongue which lies itching and irritating translated by Johanna C. Sahlin. Daydreaming is to us what on our heart sac until blood flows!” University of Chicago Press, 1977. color is to a painting. It (15 March 1797) enhances every idea that

Famous Operas and Operettas by Offenbach Famous Stories by E.T.A. Hoffmann Orphée aux enfers (1858) Ritter Gluck (1814) Daphnis et Chloé (1860) Der goldne Topf (1814, rev. 1819) La belle Hélène (1864) Nußknacker und Mausekönig (1816) Die Rheinnixen (1864) Der Sandmann (1817) Barbe-bleue (1866) Klein Zaches, genannt Zinnober (1819) La Vie parisienne (1866, rev. 1873) Der Kampf der Sänger (1819) La Grande-Duchesse de Gérolstein (1867) Das Fräulein von Scuderi (1819) Les brigands (1869) Prinzessin Brambilla (1820) La Périchole (1874) Lebensansichten des Katers Murr (1820) Les contes d’Hoffmann (1881) Meister Floh (1822)

AUDIENCE GUIDE | TALES OF HOFFMANN