Instrument : opéra
PROLOGUE
The plot derives, as its title implies, from several stories by E.T.A. Hoffmann. Hoffmann (alias the author) is in love with an opera singer named Stella but Hoffmann’s Muse announces that he will regale his companions with stories of his three great loves of the past. She declares that she will win back the artist and protect him from further amorous obsessions. In order to do so, she will assume the identity of Hoffmann’s friend Nicklausse. Councilor Lindorf also desires the diva Stella and he bribes her servant into giving him a letter addressed to Hoffmann which contains the key to her dressing room. Then Hoffmann declares that Stella embodies three types of women: the young girl, the artist and the courtesan, and goes on telling his friends about three of his past loves.
ACT 1 - OLYMPIA
The first love is Olympia. Hoffmann is a young student wishing to study with a scientist named Spalanzani. He has invented a mechanical doll named Olympia. Coppelius suddenly appears. He is the supplier of the doll’s eyes and has come to obtain payment from Spalanzani. He sells Hoff mann a pair of glasses, which makes everything seem more beautiful. To get rid of him, Spalanzani gives him a worthless cheque. Spalanzani then introduces his “daughter” to Hoffmann. She attracts great admiration, particularly for her singing. Then, alone at last with Olympia, Hoffmann professes his love to her. Everyone returns, except Coppelius, and Hoffmann is invited to dance a waltz with Olympia, during which the doll mechanisms gets out of control. Coppelius returns vowing revenge on Spalanzani for having cheating him, and smashes Olympia to pieces. Hoffmann discovers that his beloved was a mechanical doll.
ACT 2 - ANTONIA
Antonia, a young singer, is his second great love. She has not seen her beloved Hoffmann for a year and is now dying of consumption. Hoffmann returns and they enjoy a soulful reunion. But evil lurks here too. Singing is harmful to Antonia’s fragile condition, yet the malicious Dr. Miracle, through his magical intervention, treats Antonia from distance. Aware of Antonia’s fragile health, Hoffmann persuades the reluctant girl to give up her hopes and a stage career. No sooner does he leave than Dr Miracle reappears. He describes the fame that awaits her on the opera stage and when Antonia hears her dead mother’s voice exhorting her to sing, she can no longer resist. As the scene reaches its climax, Crespel, Antonia’s father, rushes in, followed by Hoffman, but they are too late: Antonia is already dead.
ACT 3 - GIULIETTA
Hoffmann’s third love is the courtesan Giulietta. He meets her in Venice, so naturally we hear a barcarolle, possibly the most famous ever written. The evil Dapertutto tempts Giulietta with a magnificent diamond, which he promises to give her if she will obtain Hoffmann’s reflexion (his soul) for him, just as she earlier obtained the shadow of her past lover, Schlemil. Giulietta proceeds to seduce Hoffmann. She begs him to give his reflexion as proof of his love. Schlemil discovers Hoffmann and Giulietta together. The two man fight a duel and Hoffmann kills his rival. Giulietta departs on a gondola with her company, leaving Hoffmann in despair.
EPILOGUE
In a postlude, we see Hoffmann and his companions, again in the present. The Muse reappears and concludes that Olympia, Antonia and Giulietta were just different aspects of “la Stella”. She then instructs Hoffman to rekindle the fire of his art, reminding him that tears are even more inspiring than love.