Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Les Contes d'Hoffmann (Hoffmanns Erzählungen)

Lotte de Beer schickt in ihrer Inszenierung Hoffmann zur Therapie – vergeblich. Musikalisch überzeugen vor allem die Frauen.

Vor allem Andrei Șerbans fantasievolle, zeitlos-elegante Inszenierung ist ein Plädoyer, Hoffmann viel öfters auf den Spielplan zu setzen.

Die Neuproduktion von Offenbachs letzter Oper an den Salzburger Festspielen bringt in der Regie von Mariame Clément einen erfrischend neuen Ansatz und unter dem Dirigat von Marc Minkowski einen Ohrenschmaus.

Szenisch bot die Eröffnungspremiere wenig Erfreuliches, aber immerhin konnte die Musik uneingeschränkt überzeugen.

In Stefano Podas Neuinszenierung bleiben vor allem die Sopransoli in Erinnerung.

Andreas Homoki schafft mit seiner Neuinszenierung ein psychologisch raffiniert konstruiertes Gesamtkonzept.

Nach fünf Jahren Pause im Repertoire ist dieser Hoffmann Werbung für das Werk und die Inszenierung.

Wie schon bei der Premiere 2016 bietet Renaud Doucets Inszenierung ideale Voraussetzungen für einen hochwertigen Hoffmann.

Hoffmann goes Steampunk: Renaud Doucets Inszenierung für die Volksoper ist die Ausnahme des vernünftigen „weniger ist mehr“.

Mit der ein oder anderen Referenz an das Surreale und das Makabre stürzt sich Barrie Kosky in einer grandiosen Neuinszenierung an der Komischen Oper kopfüber in Hoffmanns alptraumhafte Welt. 

Rolando Villazón bricht nach einer schwachen Leistung seine Vorstellung ab und übergibt an Arturo Chacón-Cruz. Dass die Aufführung an der Münchener Staatsoper dennoch gelingt, liegt vor allem an der einfallsreichen Inszenierung.

Si la mise en scène de Damiano Michieletto propose un spectacle bien mené et bien rythmé, l'œuvre d'Offenbach est plombée par une distribution inégale et une réalisation musicale peu subtile.

La version proposée salle Favart revient aux intentions initiales d'Offenbach mais le texte parlé s'avère peu convaincant. Musicalement, Michael Spyres, souvent magistral, incarne un Hoffmann plein d'humanité.

With gloriously inventive sets and costumes, Alex Esposito’s splendid Four Villains drive a wonderfully entertaining new production.

A new steampunk staging for Latvian National Opera stays true to the fantastical invention of Hoffmann and Offenbach. 

Dans la mise en scène bien connue de Robert Carsen, le ténor français crève l'écran dans le rôle-titre de l'opéra d'Offenbach, au sein d'une distribution très satisfaisante.

Damiano Michieletto's imaginative take on Offenbach's The Tales of Hoffmann is lavish fun, with star turns from Jessica Pratt, Iván Ayón Rivas and Marko Mimica.

The new production of Les Contes d’Hoffmann explores the gothic, magical nature of the story, with a solid cast led by Chaslin’s somewhat heavy baton.

Philippe Arlaud’s production for New National Theatre Tokyo may not be in its first youth, but it delivers on all counts. Leonardo Capalbo, Egils Siliņš and Yuka Kobayashi lead an excellent cast.

Krisztian Lada's thoughtful production goes to the dark heart of ETA Hoffmann's stories, mixing Offenbach's deceptively cheerful music with staging that is always impactful and sometimes gross.

Laurent Pelly's long-standing production of Offenbach's opéra-fantastique returns to the Deutsche Oper Berlin, under the baton of Emmanuel Villaume.

L'Opéra de Toulon a remplacé la production de Semiramide qui aurait dû ouvrir sa saison par un magnifique concert lyrique.

Après un mois et demi d'annulations successives, l'Opéra de Paris a rouvert ses portes pour l'œuvre d'Offenbach, dans la célèbre mise en scène de Robert Carsen, toujours aussi ingénieuse.

Les Contes d’Hoffmann reviennent à La Monnaie. Si la mise en scène hollywoodienne de Krzysztof Warlikowski montre ses limites, l'interprétation musicale n'appelle que des éloges.

Opéra dans l'opéra, la nouvelle production des Contes d'Hoffmann mise en scène par Vincent Huguet ouvre la saison de l'Opéra de Bordeaux avec un succès.

One of Teatro San Carlo’s most cherished productions of recent years, with an excellent cast of singers and a director who steered at his ease into the libretto’s erratic changes of mood and atmosphere.

Deutsche Oper Berlin staged an ambitious production by Laurence Pelly with mixed results. The performance included new discoveries and young singers brought fresh energy to the evening.

Tom Creed's take on Offenbach's opéra fantastique works best in the Olympia act in this new production in Dublin. 

Selectively unearthed from current critical editions, this fabulously performed new Hoffmann plumbs the murky depths of its antihero’s psyche.

Pour apprécier ces Contes d’Hoffmann à leur juste valeur, il faut accepter d’oublier tout – ou presque – ce que l’on en connaît.

Bartlett Sher's production of The Tales of Hoffmann, revived at The Met, takes a Kafka-esque, surreal view of the opera.

Offenbach's vivid setting of ETA Hoffmann's fantastic tales gets an enjoyable outing, with Spyres, Testé and Pudova the undoubted stars of the show.

Los Angeles Opera's Tales of Hoffmann survives multiple cast changes to look and sound fabulous, but it drags dramatically.

When an enormous black gondola creaks and shudders its way across the stage in the “Giulietta' act of the Royal Opera's Tales of Hoffmann, it acts as a metaphor for John Schlesinger's venerable production.

Ce que Robert Carsen nous donne à voir à travers cette vertigineuse mise en abyme, c’est le théâtre de l’âme humaine en quête d’accomplissement.

Great singing and acting from the Met's Tales of Hoffmann second cast. 

Calixto Bieito's production of Offenbach's The Tales of Hoffmann is astoundingly sung, but suffers from excessive cuts and occasionally odd direction.

With this mesmerising version of Les contes d'Hoffmann, Marthaler has proved (as Offenbach did more than one century ago) that it is possible to love Romanticism through its satire. 

Calixto Bieito's The Tales of Hoffmann at the Norwegian National Opera contains some very effective and at times striking moments, but the production turned out something of a disappointment overall.

The return of Offenbach’s Les Contes d’Hoffmann to the stage of San Francisco Opera on Wednesday night was a welcome and long overdue event.

Jacques Offenbach’s Tales of Hoffmann is a fine example of how the ridiculous can indeed be sublime. Three E.T.A. Hoffmann stories about otherworldly love affairs with defective femmes fatales, one of whom turns out to be a mechanical doll, connected only by the author’s gullible alter-ego as protagonist, scale the heights of the phantasmagorical.

The venerable Viennese tradition of airing dirty operatic laundry in public found an unlikely proponent this season in the form of the Theater an der Wien’s mild-mannered director Roland Geyer, who, unhappy with William Friedkin’s production of The Tales of Hoffmann in March, abruptly sacked the American director and announced he would devise a new staging himself a matter of months before the sec

Director William Friedkin doesn’t put a dramaturgical foot wrong in his Theater an der Wien production of The Tales of Hoffmann and yet doesn’t challenge, or even engage with, any of the opera’s Romantic positions.

Sir, Madam, do you like your opera quirky? A singing mechanical doll? A giant shaving mirror? The Evil Eye itself in a piano? Then welcome to the inebriated, fantastical, phantasmagorical world of E.T.A. Hoffmann, brought to you by Mr. Richard Jones with a delightful musical accompaniment by M. Jacques Offenbach.

Tucked away on Spruce Street, Philadelphia, many blocks off the glittering Avenue of the Arts is a stellar training academy with the mission of preparing world-class opera singers. It’s called the Academy of Vocal Arts (AVA), and it offers resident artists from throughout the United States and all over the world a chance to study and perform in its four-year program.

One of the questions this opera poses for any director is how to link the 'tales' of Hoffmann's three lost loves together and knit them satisfactorily into the Prologue and Epilogue.

A split-level stage featuring an ornate stairwell and scaffolding was the setting for this the tenth Jette Parker Young Artists’ Summer Performance. Entitled ‘Veneziana’, the specially compiled programme embodied the visions of Venice dreamt by Rossini, Donizetti, Britten and Offenbach in six sets of Opera Scenes.