REVIEW: Martin Dreyer’s verdict on York Opera in The Tales of Hoffmann, York Theatre Royal, until tomorrow

Katie Cole’s fawning courtesan Giuletta in York Opera’s The Tales Of Hoffmann. Picture: David Kessel

YORK Opera is alive and kicking. Not content to fall back on one of its favourites, it is breaking new ground with Offenbach’s opéra fantastique. But in another sense it is building on the legacy of one man who gave well over half a century to this company as singer, set designer and director: Clive Marshall, who died in March at the age of 88.

A protegée of Clive’s, Liz Watson now takes the reins in this lively production, assisted by John Soper. Clive would have been equally pleased that the chorus includes a dozen new members, a sure sign that he left the company in good health.

In largely modern dress, it uses an older edition than is nowadays usual, in an English translation by Edward Agate, omitting most of the spoken dialogue and almost all of the recitatives inserted after the composer’s death.

Ian Thomson-Smith’s evil genius in York Opera’s The Tales Of Hoffmann: “His first-class diction and forthright baritone carried continuing menace”. Picture: David Kessel

This sensibly cuts the show down to a reasonable two and a half hours. Alasdair Jamieson’s orchestra is reduced to two dozen, in Tony Burke’s version, which is more than adequate for this theatre, given the expertise of the players involved, led by Claire Jowett.

Hamish Brown fashioned a steady Hoffmann, sympathetically unveiling the character’s ups and downs with the opposite sex if without much change in vocal tone. He was at his best in the Legend of Kleinzach. He certainly curried sympathy for his unfortunate predicaments along the way. His alternate (for June 26 and 28) is the equally experienced Karl Reiff.

Watson reminded us of Nicklausse’s origins as Hoffmann’s muse with a subtle change from dress to suit in the prologue. Alexandra Mather’s stage presence offered ample reassurance of Nicklausse’s value as friend to Hoffmann, with an admirable mezzo to boot.

Stephanie Wong: “Brought delightful coloratura to the mechanical Olympia, carrying off her aria with wit and charm” in York Opera’s The Tales Of Hoffmann

Understandably, three different sopranos covered Hoffmann’s would-be conquests. Stephanie Wong brought delightful coloratura to the mechanical Olympia, carrying off her aria with wit and charm, not least when she had to be rewound.

Ione Cumming’s strong tone as Antonia ensured this was the most dramatic of Hoffmann’s affairs, singing herself to death persuasively. As the fawning courtesan Giuletta, Katie Cole made the most of the famous Barcarole, duping Hoffmann in their duet before sugaring off with a gondolier.

Hamish Brown’s Hoffmann in York Opera’s The Tales Of Hoffmann: “Curried sympathy for his unfortunate predicaments along the way”

The evil genius behind all three of these deceptions – variously Coppélius, Dr Miracle and Captain Dapertutto – was excellently embodied by Ian Thomson-Smith, in a variety of pseudo-mystical costumes. His first-class diction and forthright baritone carried continuing menace.

Several smaller roles were well characterised. Mark Simmonds as Hoffmann’s perpetual opposition Lindorf, Leon Waksberg as the inventor Spalazani, Molly Raine as his assistant, and Rebecca Smith as the ghost of Antonia’s mother, all caught the eye.

Alexandra Mather: “Her stage presence offered ample reassurance of Nicklausse’s value as friend to Hoffmann, with an admirable mezzo to boot”. Picture: David Kessel

With John Soper’s perpetual set covering the full width of the stage, it was a smart idea to limit the chorus choreography to only ten singers, whose movements largely echoed the trials of the three principal ladies. The chorus, clearly well drilled, threw itself wholeheartedly into the fray when required without too much action off the ball.

It almost goes without saying that Alasdair Jamieson sustained a firm grip on all his forces. The orchestra responded with particular enthusiasm, to the point of occasionally overpowering a couple of soloists. But these were brief misdemeanours and the overall spirit of the evening was unaffected. A tricky opera smoothly negotiated and another feather in York Opera’s cap.

York Opera in The Tales Of Hoffmann, York Theatre Royal, tonight, 7.15pm; tomorrow, 4pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Ione Cummings’ Antonia and Karl Reiff’s Hoffmann in York Opera’s The Tales Of Hoffmann. Picture: David Kessel

York Opera to perform Offenbach’s The Tales Of Hoffmann at York Theatre Royal

Ione Cummings’ Antonia at the piano in The Tales Of Offenbach

ELIZABETH Watson and John Soper direct York Opera in Jacques Offenbach’s The Tales Of Hoffmann at York Theatre Royal from June 25 to 28.

Based on three short stories by German romantic writer E T A Hoffmann, the opera comprises a prologue, three scenes and an epilogue and features the outstanding aria The Doll Song.  

“This production has fantastical tales combined with glorious music to create an unforgettable evening,” say the directors. 

Alexandra Mather’s Nicklaus with Karl Reiff, left, and Hamish Brown’s Hoffmann in York Opera’s The Tales Of Hoffmann. Picture: John Saunders

Tenors Karl Reiff and Hamish Brown will perform the lead role of Hoffmann on alternate nights. His evil enemies will be played by Ian Thomson-Smith and Mark Simmonds; his love interests will be sung by Stephanie Wong (Olympia), Ione Cummings (Antonia) and Katie Cole (Giulietta), and the role of his loyal friend, Nicklaus, goes to Alexandra Mather.

Musical direction is by Alasdair Jamieson, who will conduct the full cast and orchestra.  

York Opera in The Tales Of Hoffmann, York Theatre Royal, June 25 to 28, 7.15pm, plus 4pm Saturday matinee. Box office: 01904 623568 or yorktheatreroyal.co.uk.

York Opera head to sea in Gilbert and Sullivan’s love-struck HMS Pinafore at York Theatre Royal from November 16 to 19

Madly in love but kept apart by social hierarchy: Lovesick sailor Ralph (Jack Storey-Hunter) and the Captain’s daughter, Josephine (Alexandra Mather), in York Opera’s HMS Pinafore

YORK Opera will set sail at York Theatre Royal with Gilbert & Sullivan’s operetta HMS Pinafore or The Lass That Loved A Sailor from November 16, steered by a new production team of Annabel van Griethuysen and Tim Selman.

Stage director Annabel and conductor Tim will be at the helm of a production at the Theatre Royal for the first time.

HMS Pinafore was G&S’s first big success, both in Great Britain and the United States, establishing their still undiminished position at the pinnacle of light opera in this country.

Although they had had significant success with Trial By Jury and The Sorcerer, the world of light opera in the 1850s and 1860s was dominated by the works of Jacques Offenbach, full of catchy tunes and brilliantly orchestrated. 

Breaking into this field of theatre and dominating it across the English-speaking world must be due greatly to the witty and topical libretti by W.S. Gilbert. In conjunction with Sullivan’s sparkling and tuneful musical settings, HMS Pinafore established the rock on which all the subsequent G&S repertoire would be founded.

Annabel van Griethuysen’s Carmen in York Opera’s Carmen at York Theatre Royal in October 2018. Now dietician Annabel switches from mezzo-soprano singing to stage directing HMS Pinafore

The story follows Ralph, a lovesick sailor, and Josephine, the Captain’s daughter, who are madly in love but kept apart by social hierarchy. The musical numbers, loved by young and old alike, include We Sail The Ocean Blue, Never Mind The Why And Wherefore and When I Was A Lad.

As usual with York Opera’s G & S productions, a healthy mix of youth and experience combines in the cast. New to the company are Jack Storey-Hunter in the leading tenor role of Ralph Rackstraw and Polina Bielova as Cousin Hebe. 

Well-known cast members in the line-up include Alexandra Mather in the leading soprano role of Josephine; John Soper as Sir Joseph Porter; Ian Thomson-Smith as Captain Corcoran; Rebecca Smith as Little Buttercup and Anthony Gardner as Dick Deadeye.

York Opera in Gilbert & Sullivan’s HMS Pinafore, York Theatre Royal, November 16 to 19, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 623568 or yorktheatreroyal.co.uk

Sea-bound: Jack Storey-Hunter’s Ralph and Alexandra Mather’s Josephine in York Opera’s HMS Pinafore