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Les Contes d’Hoffmann

Opéra fantastique in five acts by Jacques Offenbach

Musical Theatre
Marguerre-Saal
Text by Jules Barbier, after the play by Barbier and Michel Carré / in French with German supertitles
[recommended for ages 15 and up]

Can true art only come of suffering?
In his attempt to come to terms with his unhappy love for the singer Stella, the poet Hoffmann sought to bring it to life in three fantastic tales about three women: Olympia – the soulless automaton –, Antonia – the soulful singer who has to give her life for art – and the courtesan Giulietta, who wagers his love. He enters a (fictional) relationship with each of these women in order to relive his failure again and again.

Jacques Offenbach, the father of the operetta, created a memorial to the poet E. T. A. Hoffmann with his final work for the stage. He was never able to reveal it to the public himself. The work was premiered in Paris, but not until 1881, four months after Offenbach had died, in a version completed by Ernest Guiraud.

This production is accompanied by a programme from the Arts & Education team.

Musical Direction
Elias Grandy

On

30.10.2022

2.11.2022

8.11.2022

11.11.2022

12.1.2023

Paul Taubitz

On

21.11.2022

18.12.2022

25.12.2022

20.1.2023

Direction
Stage Design
Lighting Design
Ralph Schanz
Choreographical collaboration
Choir Direction
Dramaturgy
Music Theatre Education
Stella
Olympia
Netta Or

On

21.11.2022

18.12.2022

25.12.2022

12.1.2023

20.1.2023

Giulietta
Muse / Nicklausse
La voix de la mère
Barbara Dorothea Link

On

30.10.2022

8.11.2022

21.11.2022

25.12.2022

20.1.2023

Kylee Slee

On

2.11.2022

11.11.2022

18.12.2022

12.1.2023

Lindorf / Coppélius / Miracle / Dapertutto
Nathanaël / Spalanzani / Pitichinaccio
Crespel / Luther
Wilhelm / Schlémil
Cochenille / Frantz
Hermann / Le capitaine des Sbires
Cellist
Johann Aparicio Bohórquez

On

30.10.2022

2.11.2022

8.11.2022

11.11.2022

21.11.2022

Chor und Extrachor des Theaters und Orchesters Heidelberg
Director of Studies
Johannes Zimmerman
Musical Rehearsels
Kens Lui, Manon Parmentier, Hanna Klose, Paul Taubitz, Johannes Zimmermann
Assistant Director and Evening Performance Director
Christine Arnold, Marvin Heppenheimer, Lennart Kammler
Stage Manager
Sandra Wisotzki
Assistant Stage Design
Bettina Ernst
Costume Assistant
Oktavia Zyta Herbst, Alissa Schaaf
Production Hospitanz
Gabriele Carta
Speech Coaching
Adrien Mechler, Manon Parmentier, Susanne Schyns
Supertitles Creation
Ulrike Schumann
Supertitles Management
Martin Becher, Ayana Friederike Kehr, Cecilia Schulze
Technical Director
Peer Rudolph
Assistant Technical Director
Aysha Tetzner
​Technical Office, Assistant to the Technical Director
Nadine Bork
Technical Production Manager
Jens Weise
Assistant Stage Designer
Bettina Ernst
Head of Stage Technology
Michaela Abts
Stage Foreman
Brandon Ess
Head of the Lighting Department
Ralf Kabrhel
Head of the Sound Department
Alexander Wodniok
Sound
Luisa Lange, Konstantin Springer
​FKJ Sound Department
Edda Wasserbauer
Head of the Costume Department
Katharina Kromminga, Kristina Flachs (stellv. und Kostümbearbeitung)
Wardrobe Master Women
Dagmar Gröver
Head of the Dressing Room
Sabrina Flitsch
Head of Make-up
Kerstin Geiger
Make-up Artist
Benita Breetzke, Emma Gross, Tekoshin Güzel, Martina Hörz-Hagedorn, Ramona Bauer, Marlene Miensopust, Olga Pavychenko, Daniela Werner
Head of the Painting Room
Dietmar Lechner
Head of the Decoration Workshop
Markus Rothmund
Head of the Metal Workshop
Karl-Heinz Weis
Head of the Carpentry Workshop
Klaus Volpp

Listen to an introduction in German by Ulrike Schumann here.

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Trailer by Siegersbuschfilm

»Genau richtig« sei hier, wer ins Theater gehe, um sich »von Geschichten verzaubern zu lassen«, schreibt Jesper Klein in der Rhein-Neckar-Zeitung (2. November 2022). Regisseurin Andrea Schwalbach bringe »einige Ideen« ein, reizvoll sei die »musikalische Vielfalt« des Werks, verkörpert auch durch die unterschiedlichen »stimmlichen Facetten« der drei Sängerinnen. Die »gute Leitung« des Ensembles und des Philharmonischen Orchesters unter Elias Grandy, dem der »schwungvolle Offenbach lieg[e]«, gefallen dem Kritiker, der meint, man könne an diesem Abend »Spaß haben«. 

Stefan M. Dettlinger zeigt sich im Mannheimer Morgen (2. November 2022) erfreut darüber, wie das »gut aufgelegte Orchester und der glänzend agierende Chor« unter GMD Elias Grandy das »komplexe Werk zwischen Scharfkantigkeit und Melodiensüße sicher hindurchnavigieren«. Er sah einen »teils vergnüglichen, teils nachdenklichen Abend« und empfiehlt: »Also nichts wie hin«.