L.A. OPERA ACHIEVES SHEER POETRY.Byline: Rick Mortensen Staff Writer The poet Hoffmann sits at a tavern ruminating aloud about three extraordinary ex-loves - a mechanical doll, a sickly singer and a seductive courtesan cour·te·san n. A woman prostitute, especially one whose clients are members of a royal court or men of high social standing. [French courtisane, from Old French, from Old Italian cortigiana . Is he mad? Drunk? In the throes throe n. 1. A severe pang or spasm of pain, as in childbirth. See Synonyms at pain. 2. throes A condition of agonizing struggle or trouble: a country in the throes of economic collapse. of soul-gripping depression? Or merely trotting out his poetic license? That thin line between reality and fantasy is at the heart of Jacques Offenbach's tunefully tender and sardonic ``The Tales of Hoffmann,'' the story of an obsessed ob·sess v. ob·sessed, ob·sess·ing, ob·sess·es v.tr. To preoccupy the mind of excessively. v.intr. poet in love with love, now playing in a delightful Los Angeles Opera The Los Angeles Opera is an opera company in Los Angeles, California, United States. The company's home base is the Dorothy Chandler Pavilion, part of the Los Angeles Music Center. production at the Dorothy Chandler Pavilion The Dorothy Chandler Pavilion is one of the halls in the Los Angeles Music Center (which is one of the three largest performing arts centers in the United States). The Music Center's other halls include the Mark Taper Forum, Ahmanson Theatre, and Walt Disney Concert Hall. . Sunday, an enthusiastic opening-night crowd welcomed an all-star cast headed by an excellent Marcus Haddock in his return to the company in the title role of Hoffman. The always worthwhile Samuel Ramey sang multiple parts as the four villains. Any telling of ``Tales of Hoffmann'' is only as good as the three sopranos singing Hoffmann's lovers. This time, the roles are handled by a trio of international stars: Korean coloratura coloratura: see soprano. Sumi SUMI Software Usability Measurement Inventory (measures software quality from the user's point of view) Jo as Olympia, the mechanical doll; Andrea Rost as the deathly ill Antonia; and Milena Kitic making her L.A. Opera debut as the sensual Giulietta. Jo's doll, which brought to mind the comic timing of a Charlie Chaplin, drew laughs even as she stirred the packed house with fearsome high notes. Kitic's rich, shimmering mezzo mez·zo n. pl. mez·zos A mezzo-soprano. mezzo Adverb Music moderately; quite: mezzo-forte Noun pl -zos made the ``Barcarolle'' and the rest of Act 2 a sumptuous treat. But Rost had the truest chemistry with Hoffmann, and her sheer musicality and acting skills ensured that Antonia's death, when it came, was deeply moving. ``Hoffmann'' is rightfully beloved for a surprising variety of musical styles moving from the velvety hush of the famous ``Barcarolle'' to Hoffmann's lusty drinking song and points in between. Calling on just the right balance of weariness and heartbreak, Haddock's haunted poet rang with deeply felt empathy. Ramey added a truly nasty bearing to his powerful voice. As the muse who transforms herself into Hoffmann's friend, Nicklausse, Elizabeth Batton acquitted herself well. Her arias drew the audience in with a variety of emotions, and her humorous moments were equally well-received. The piece, engagingly directed by Marta Domingo, was enhanced by Giovanni Agostinucci's sometimes decadent sets and intriguing costumes. THE TALES OF HOFFMANN - Four stars Where: Los Angeles Opera, Dorothy Chandler Pavilion, 135 N. Grand Ave., Los Angeles. When: 1 p.m. Saturday, Dec. 14 and 21; and 7:30 p.m. Dec. 4, 8 and 18. Tickets: $35 to $170. Call (213) 365-3500 or www.losangelesopera.com In a nutshell: This beautifully sung tragedy about a miserable romantic is revered for its inspirational melodies. CAPTION(S): photo Photo: Marcus Haddock embraces doomed love Andrea Rost in ``The Tales of Hoffman.'' |
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