Les Con

Royal Opera House Live Cinema Season 2016/17: Les Contes d'Hoffmann (2016)

Bartlett Sher’s imaginative production, with sets by Michael Yeargan and costumes by Catherine Zuber, explores all the riches of Offenbach’s fantastical tale. Joseph Calleja is the poet Hoffmann who is enthralled by a variety of women—neither of which turns out to be the perfect creature he envisions. Kathleen Kim scales the vocal heights of the mechanical doll Olympia. Anna Netrebko literally sings herself to death as Antonia and also plays the diva Stella. Ekaterina Gubanova is the sultry courtesan Giulietta. Alan Held’s Four Villains foil all of Hoffmann’s plans. James Levine conducts with ardor and dramatic energy, bringing out every colorful detail of this rich score.

This adaptation of three tales by E.T.A. Hoffmann, with a sprinkling of Goethe’s Faust, portrays the German poet as both narrator and hero recounting his love affairs with Olympia, Antonia and Giuletta. Robert Carsen’s spectacular production highlights the melancholy genius of a man marked by life, with a coherence and dramatic sense remarkable for a work that leaves numerous questions unanswered. Under the baton of Philippe Jordan, Stéphanie d’Oustrac, Ermonela Jaho, Kate Aldrich, Yann Beuron and Ramón Vargas and Stefano Secco in the main role, interpret the legendary airs of this work whose brilliant mystery will continue to dazzle opera houses for countless years to come.

The “superb, sinister” Tales of Hoffmann at the Dutch National Opera with “excellent soloists, the impressive John Osborn” (Theaterkrant) and “Christine Rice, a vocally and physically voluptuous Giulietta” (bachtrack.com), “mezzosoprano Irene Roberts, who plays and sings brilliantly” (Groene Amsterdammer) and “Erwin Schrott, singing the four villains for the first time, made it look like a blast.” (bachtrack.com) “Les Contes d'Hoffmann is a parade of golden voices”. (Volkskrant) Maestro Rizzi conducted with elegance and momentum the chorus and the “excellent playing Rotterdam Philharmonic Orchestra”. (Volkskrant) “Spectacular” (Trouw) “This production effortlessly fascinates from start to finish.” (Theaterkrant)

This episode is part of the series "The Conquerors of the Impossible (2/3)". From the 1950s to the 1980s, René Desmaison achieved a large number of "firsts". A specialist in normal routes (west face of Les Drus, Pilier du Freyney, Shroud...), he experienced a tragedy at the Grandes Jorasses, where his exceptional resistance allowed him to survive against all logic. He is the first to claim the practice of the mountain as a high level sport. A man of contrasts, his apparent strength hides great shyness and an unalterable enthusiasm despite the years. Beyond mountaineering, it is the spirit of adventure that has always inhabited him. A whole life devoted to mountaineering.

Alice Guy-Blaché's third film for Gaumont.

Among DVDs of "Hoffmann" currently available, this is the only one that even begins to stand comparison with the superlative Powell and Pressburger film (whose ideas it occasionally borrows). Olivier Py's baroque imagination, which sometimes leads him into self-indulgence and incoherence, is well suited to bringing out this opera's darkness and he does an excellent job

Giancarlo Del Monaco's passionate and intelligent production of Jacques Offenbach's magnum opus creates a climactic kaleidoscope of deep and convincing emotions. A highly credible incarnation of the pitiable Kleinzach he sings about, Aquiles Machado is the poet who loses his romantic idealism, his reflection and finally his soul to a 'trio of charming enchantresses'.

Seeking to exorcise the failure of his current love affair, the poet Hoffmann tells the tales of his three past loves - the doll-like Olympia, the high-class courtesan Giulietta, and the ambitious but delicate Antonia - and recalls how each was thwarted by the evil influence of his rival. In this production by the distinguished film director, John Schlesinger, with spectacular designs by Maria Bjornson and William Dudley, Offenbach's nightmare world is brought to life. The all-star cast is headed by Placido Domingo as Hoffmann: his three loves are Ileana Cotrubas, Anges Baltsa and Luciana Serra and the manifestations of his rival are sung by Geraint Evans, Robert Lloyd, Siegmund Nimsgern and Nicola Ghiuselev. The score, which includes such favourites as the "Barcarolle" and the "Doll's Song", is conducted by Georges Pretre.

Half-brothers Galaad and Noé first meet at their father's funeral. They have little in common, apart from an equal share of personal failures. Convinced that the evil eye has been dogging them ever since their father stole a sacred relic, Galaad convinces Noé to act. Suddenly adventurers, the two men set out in search of the stolen object, and in search of the chance that has shunned them until now.

A young couple: Victor is a musician, Claire is a secretary in a publishing house. Their daily life seems so disappointing, so monotonous, that they begin to spend their time daydreaming, both creating their own imaginary world. At the office, she writes the story of an heroine's imaginary life. He collects material to compose an opera which glorifies the conquistadors.

Live peformance from the Sferisterio Opera Festival, August 2004. Our edition has an Italian cast of exceptional quality, in which stand out the amazing voice of Desirée Rancatore, the extraordinary artistry of Ruggiero Raimondi and the fascinating direction of Pier Luigi Pizzi, one of today's most creative directors. Interesting overview here: http://www.operatoday.com/content/2006/08/offenbach_les_c.php

Live performance from the Opéra National de Paris, 2003.

As the 2024 elections approach, Russian interference in American politics – through spies or agents of influence – is a troubling reality. Vladimir Putin is counting on Donald Trump’s victory to weaken support for Ukraine. Why does Trump almost always support Russia? Is he compromised? During his presidency, did he betray the United States in favor of the Kremlin? And why has the Republican Party shifted its stance toward Russia? Answering these questions means shedding light on a labyrinthine espionage and manipulation operation. Still ongoing, it began forty years ago, during the final years of the Cold War. Back then, Trump was merely a real estate developer, and Putin was a young KGB agent. This operation contains many dark areas, but some hold pieces of the puzzle. A former KGB leader, infiltrated “illegals,” a former Trump advisor, and former senior officials from the CIA and FBI, as well as a former prosecutor, provide testimony. . . . [taken from Nilaya Productions]

Production of the Salzuberger Festspiele 2024. French director Mariame Clément will explore the relationship between art and real life by linking the three “tales” with individual stages of Hoffmann's biography as an artist in her production. This has decisive consequences for the female characters, or rather for the view of the images that Hoffmann projects onto Stella: the angelic but emotionally cold Olympia, who turns out to be a doll;

Georges Méliès lost film.

Five young inhabitants from Paris are staying in the country for the weekend. They do not know yet that their evening is going to turn into a nightmare.