Worst thing first: as with all the re-releases in Erato’s
Opera Collection the packaging for this set is pretty
awful. There is a fairly full synopsis, cued to the tracks on
the CDs, but only a web-link to the libretto in French (with
no English translation). Nor is there is a word about the edition
of the text used, so important for any recording of this work.
It’s a special shame in this case because the original
packaging of this recording was so lovely; a well designed front
cover and a thick booklet with essays, text and translations.
Still, looking on the bright side, this allows a good recording
to return to the catalogue at budget price, and it’s well
worth hearing as it will provide any fan of the opera with a
lot of pleasure.
Hoffmann is a difficult opera to get right, and music-lovers
will forever argue about the best edition of the text to use,
let alone whether you should have spoken dialogue or sung recitative.
It has been recorded fairly frequently but, for me, the best
version by a country mile is still Bonynge’s Decca CD
with Sutherland, Domingo and Bacquier. However, Nagano’s
version has a lot going for it, and it stands alongside Bonynge’s
as a worthy alternative, as it brings a different edition of
the text and, unlike Bonynge’s, gives us the sung recitatives
rather than the spoken dialogue. At its centre stands the Hoffmann
of Roberto Alagna, an interpretation captured when this singer
was at his absolute best. His Hoffmann is young, vigorous and
exhilarating, even aggressive at times. His moments of raw excitement
are superb - just listen to his drinking song at the start of
the Giulietta act (here placed third) - but he doesn’t
lose lyricism in the great love scenes. His love duet with Antonia,
in particular, is outstanding, quivering with ardour and full
of surging energy. His seduction by Giulietta also feels full
of energy while carrying an air of languor and abandon. I loved
the way he seemed to give himself to the role with complete
abandon, embracing its extremes in a way that throws caution
to the wind, and always remaining utterly musical throughout.
I will return to this version again and again just to hear his
superb singing. He is matched by an equally interesting set
of villains from van Dam, but these villains are distinguished
by the sheer beauty with which they are brought to life. There
is not a trace of a snarl or a hint of ugliness in van Dam’s
great portrayals; instead he brings out the lyrical aspects
of their characterisation so that they are never cardboard cut-outs
of evil: it is easy to see, for example, how this silky Dr Miracle
manages to inveigle his way into the Crepsel house.
The three heroines are sung by different sopranos, each of which
brings a very distinctive colour to the role. Olympia was a
signature role for the young Natalie Dessay and her coloratura
is outstanding, especially in the upper ranges, though she sounds
unmistakably brittle at times. Vaduva’s Antonio is attractive
and vulnerable at the same time, her turtle dove solo meltingly
beautiful, while her death scene is very moving. Sumi Jo’s
Giulietta is both a seductress and a fire-eater. She also uses
her coloratura to astounding effect, almost distractingly brilliant
in Giulietta’s first aria, but finds some reserves of
allure with which to woo Hoffmann later on. The other major
“woman” is, of course, the Muse/Nicklausse of Dubosc,
whose rich, fairly throaty mezzo, convinces as the companion
without ever threatening to blend too much with the other female
character. The lesser roles are never less than capably sung
and, while there are better character tenors around than Gilles
Ragon, his different incarnations sound good enough. It’s
good to have old friends like Michel Sénéchal
and Ludovic Tezier lurking somewhere down the cast list too.
In many ways, though, Nagano is as much the hero of this set
as Alagna. He conducts with an eye for energy, invigorating
the proceedings with the dramatic flair of an action-man, which
won’t be to everyone’s taste - moments like the
Barcarolle seem rushed and undervalued - but I always
found him enjoyable, and the way the orchestra play for him
it is clear that they loved working with him. In fact, in spite
of the star turns, this set (just about) maintains the air of
an ensemble piece where everyone works together to serve the
music first.
So while it isn’t perfect I still found this set immensely
enjoyable and, after Bonynge, it’s now, for me, a very
clear second choice for this opera. If you’re irrefutably
wedded to the sung recitative, it might feature even higher
for you.
Simon Thompson
Hoffmann - Roberto Alagna (tenor) 
