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Offenbach's Tales of Hoffmann: Fool for Love
Love is intoxicating, but dating can be hard. In Jacques Offenbach’s The Tales of Hoffmann, a love-obsessed poet tells fantastical stories of romance gone very, very wrong. Based on the works of 19th-century Gothic horror writer E.T.A. Hoffmann, the opera is a journey through desire and loss – a journey that just might make you feel better about your own dating disasters! In the aria “Ô Dieu! de quelle ivresse,” the poet-protagonist Hoffmann professes his passionate love to the courtesan Giulietta. In this episode, Rhiannon Giddens and her guests explore the intoxicating power of romance, and the magically mysterious world created by both E.T.A. Hoffmann and Offenbach. Tenor Matthew Polenzani sings the aria onstage at the Metropolitan Opera. The Guests Tenor Matthew Polenzani has just wrapped up his 22nd season at the Metropolitan Opera, which is one of many places he’s performed the role of Hoffmann. As a happily married man, he can’t quite relate to the poet’s unending heartbreak, but he does believe that all artists should have a touch of crazy in them. Veronica Chambers is a writer and editor for The New York Times. In 2006, her essay “Loved and Lost? It’s O.K., Especially if You Win” was published in the Modern Love column, detailing her long list of doomed romances. But, like Hoffmann, she kept her heart wide open to the possibility of love. Stage director Beth Greenberg directed The Tales of Hoffmann for New York City Opera back in 1996. She counts Jacques Offenbach among the greatest composers, in part because of his extraordinary sense of satire. She likes to think of him as “the Mel Brooks of the Champs-Élysées.” Francesca Brittan is an Associate Professor of Music at Case Western Reserve University. Her work focuses on 19th- and 20th-century music, and her 2017 book Music and Fantasy in the Age of Berlioz details her fascination with the fantasy genre in literature and in music. She loves exploring the secret worlds imagined by E.T.A. Hoffmann and writers like him.
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