Les Contes d'Hoffmann (The Tales of Hoffmann)

Synopsis

Prolog
Luther's Tavern, Nuremberg. The Muse appears. She confesses her intention to make Hoffmann forget all his loves, making him devoted only to her, to poetry. Taking the form of Nicklausse, the poet's best friend, he goes in search of him.
The singer Stella sends Hoffmann a love letter and the key to her room. These, however, fall into the hands of councilor Lindorf.
The tavern fills up with rowdy students asking for drinks. Greeted with cheers, Hoffmann and Nicklausse appear. The poet is lost in thought and gives strange answers to his drinking buddies. To cheer him up, they suggest that they sing together "Legendelle lui Kleinzach" (Hoffmann's aria: Il était une fois à la cour d'Eisenach). The jocular song, however, does not divert Hoffmann from his thoughts, which turn to the beautiful Stella. He confesses to his friends that he feels haunted by an evil spirit, which every time takes the form of a different human face, accompanying him everywhere and standing in the way of his happiness. Laughing cynically, Lindorf does not deny that he is the evil market chasing the poor poet...
Hoffmann begins the story of his loves, whose fulfillment was stopped by the devil...

Act I (Olympia)
Salon of the physicist Spalanzani, Paris. He, with the financial help of Coppélius, built a mechanical doll - Olympia - which he wants to present to his guests.
In love with Spalanzani's supposed daughter, Hoffmann arrives first at the party (Allons aria! Courage et confiance… ah! vivre deux!). Nicklausse also appears and advises him not to get caught up in the excitement, to try to talk to the girl or at least write her a few lines. Finally seeing how blinded he is, he reveals to him that Olympia is only a doll (aria Une poupée aux yeux d'émail), but Hoffmann does not listen to him.
Into the room enters Coppélius (an incarnation of the demon, under whose mask the features of Councilor Lindorf can be seen). He gives Hoffmann a pair of enchanted glasses that have the power to make the wearer see things as he wishes (aria J'ai des yeux). Seen through Coppélius' glasses, the doll seems to Hoffmann to be a living being, so that Nicklausse cannot convince him of the reality at any cost... The physicist's guests arrive, eager to see his creation, the doll that the whole town is talking about as a extraordinary achievement. Indeed, presented by Spalanzani and his helper Cochenille, the doll elicits a standing ovation from all. Proud of his work, Olympia's "father" makes her sing (the aria Les oiseaux dans la charmille). Hoffmann, blinded by love, believes that love is shared with him, much to the amusement of Nicklausse who subtly tries to warn his friend (aria Voyez-la sous son éfann). In the height of happiness, Hoffmann dances with the doll which spins faster and faster. With great difficulty Cochenille manages to stop Olympia and get her out of the room. Hoffmann's glasses break and he finally realizes that he has fallen in love with a mechanical doll.

Act II (Antonia)
Crespel's House, Munich. Antonia, his beautiful daughter, inherited from her mother the talent to sing but also a mysterious lung disease. Crespel begs her daughter never to sing again. She retires sadly to her room, wanting her lover to return (aria Elle a fui, la tourterelle). Crespel comes out, giving orders to the servant not to allow anyone to enter the house, especially Hoffmann whom he considers the main culprit of his child's illness. The servant Franz is deaf and understands everything backwards (aria Jour et nuit je me mets en quatre). When Hoffmann comes, he opens them, confiding that Mr. Crespel will be delighted to see him. Happy, Antonia comes to meet him, and Nicklausse, who had accompanied the poet, retreats. Hoffmann confesses his love to the girl. Intoxicated by their dreams of love, the two young people join their voices in a romance (the duet C'est une chanson d'amour).
Hoffmann is not pleased with Antonia's passion for music and tells her that he is jealous because he feels that the girl shares his love in this way. Antonia reproaches her for getting along with Crespel, who does not allow her to sing. However, the poet knows nothing about this prohibition and shows himself very surprised not understanding its reason. Crespel's footsteps are heard, Antonia runs away, and Hoffmann, eager to find an answer to his confusion, hides.
Franz informs his master that Dr. Miracle has arrived. Crespel forbids him to receive this man whom he is convinced killed his wife and has now come to kill his child as well. But Franz doesn't stop him and Doctor Miracle – another incarnation of the demon – makes his appearance. Hoffmann finds out why his lover must no longer sing, and after the doctor and Crespel leave, manages to extract from the girl a vow to give up music.
Antonia, however, is disturbed in her decision by Doctor Miracle who appears in her room and - without being seen - shows her the brilliance of the life of an artist, the great satisfactions that the stage will give her compared to the prosaic life of a wife. Seeing that the young woman cannot be moved by her love for Hoffmann, Dr. Miracle uses his diabolical powers: he makes the former singer's voice echo from the portrait of Antonia's mother. Prompted by the voice she hears, the poor child begins to sing and sings until she collapses. The sinister doctor disappears laughing.
Arriving hastily, Crespel, Hoffmann and Nicklausse find nothing but a lifeless body.

Act III (Giulietta)
Venice. The smooth rhythm of the barcarola is heard (duet Giulietta – Nicklausse Belle nuit, oh, nuit d'amour). Giulietta, a beautiful courtesan, is bored with the affair with Schlémil and seems interested in Hoffmann. Good Nicklausse warns his friend that he is in danger of falling in love, but Hoffmann, sure of himself, assures him that he is not the man to give his heart to a courtesan.
The demon hears them and reappears, under another guise, with another name: Dapertutto. Using the magical power of a diamond (aria Scintille, diamond), Dapertutto induces Giulietta to make the poet fall in love with her and then steal her shadow, as she had stolen her former lover's , Schlemil. The woman, under the strange power of Dapertutto, is also aroused by the fact that the poet declared that he was not impressed by the feminine charms of a courtesan.
Giulietta meets Hoffmann, easily wins him over and makes him give her the image reflected in a mirror (Hoffmann's aria Oh Dieu! de quelle ivresse). This love scene is interrupted by the arrival of Schlémil and his friend Pitichinaccio, who have been summoned by Dapertutto. Nicklausse follows them, suspecting that his friend is in danger. Giulietta whispers in Hoffmann's ear that Schlémil has the key to her apartment, and the poet, confident, does not hesitate to ask his former favorite. When confronted, Schlémil replies that he will not give the key and draws his sword. Hoffmann has no sword, and Dapertutto offers him his, and with such a sorcerer's weapon the poet proves stronger.
Schlémil falls dead, and Hoffmann, in possession of the much-coveted key, sees Giulietta leaving with Pitichinaccio.
Nicklausse hides his friend to avoid being arrested for the murder.

Epilogue
Back in Luther's tavern.
Hoffmann finished telling the story of his unhappy loves. He declares that he will never love again. The beautiful Stella appears and, angry that Hoffmann prefers drink to her love, leaves arm in arm with Lindorf the demon, who is waiting for her at the exit.
Only Nicklausse, the embodiment of the Muse, remains next to the poet to console him (aria Renaissance poet! Je t'aime Hoffmann! Soft belongings!).