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Tales Of Hoffmann Import

4.6 out of 5 stars 16 customer reviews

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Product Details

  • Audio CD (April 22 2002)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Format: Import
  • Label: Deutsche Grammophon
  • ASIN: B000060P63
  • Average Customer Review: 4.6 out of 5 stars 16 customer reviews
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Disc: 1
1. Act I (Prologue). Prelude Et Introduction: Prelude - Susanne Marsee
2. Act I (Prologue). Prelude Et Introduction: Glou! Glou! Glou! Glou! - John Alldis Choir
3. Act I. Recitatif Et Couplets: Le Conseiller Lindorf, Morbleu! - Norman Treigle
4. Act I. Recitatif Et Couplets: Dans Les Roles D'Amoureux Langoureux - Norman Treigle
5. Act I. Scene Et Choeur: Deux Heures Devant Moi! - John Noble
6. Act I. Scene Et Choeur: Drig! Drig! Drig! Maitre Luther - John Alldis Choir
7. Act I. Scene Et Chanson: Vive Dieu! Mes Amis, La Belle Creature! - John Alldis Choir
8. Act I. Scene Et Chanson: Il Etait Une Fois A La Cour D'Eisenach - John Alldis Choir
9. Act I. Finale: Peuh! Cette Biere Est Detestable! - John Alldis Choir
10. Act I. Finale: Simple Echange De Politesses! - John Alldis Choir
See all 24 tracks on this disc
Disc: 2
1. Act III: Giulietta - Recitatif Et Couplets Bachiques: Et Moi, Ce N'est Pas La - Stuart Burrows
2. Act III Giulietta: Recitatif Et Couplets Bachiques: Amis, L'amour Tendre Et Reveur, Erreur! - Stuart Burrows
3. Act III Giulietta: Scene: Je Vois Qu'on Est En Fete - Stuart Burrows
4. Act III Giulietta: Chanson Et Scene: Scintille, Diamant - Norman Treigle
5. Act III Giulietta: Chanson Et Scene: Cher Ange! - Stuart Burrows
6. Act III Giulietta: Duo Et Scene: Malheureux, Tu Ne Comprends Donc Pas / O Dieu, De Quelle Ivresse / Si Ta Presence M'est Ravie - Stuart Burrows
7. Act III Giulietta: Duo Et Scene: Schlemil! - Stuart Burrows
8. Act III Giulietta: Septuor: Helas, Nom Coeur S'egare Encore - Stuart Burrows
9. Act III Giulietta: Septuor: Ecoutex, Messieurs - Stuart Burrows
10. Act III Giulietta: Entr'acte: Entr'acte - John Alldis Choir
See all 27 tracks on this disc

Product Description

Offenbach: The Tales of Hoffmann: Complete Opera (with full libretto and translation)

Customer Reviews

4.6 out of 5 stars
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Top Customer Reviews

Format: Audio CD
This is not the Best HOFFMAN you can get. That would probably be the Bonynge-Domingo-Sutherland or the Camberling, with Neil Shicoff (Not availble on this site, except in Highlight form.) or even the Geddai-De Los Angeles Version. However, none of these versions present the "Traditional Approch" (Domingo's has Dialouge, Camberling's is the "Oeser" edition, and the Geddai has a male Nicklausse.) For a "Traditonal experiance, Get this baby here.
The Conducting is in the capable hands of Julius Rudel, how knows just what to do with the score. The London Symphony Orchestra seems to be on a telepathic link with him and the tone of the peice.
For the Performers , It is only fair to start with the Devine Miss Sills. She attempts all three heroines here, as well as a bit part as Stella. As Olympia, she does not go for the dazzling, optional high notes Sutherland does, but her comic performance of the "Doll Song" is enchanting. She is, perhaps, at her best as Guiletta and Antonia ,her voice effortlessly and expertly convaying the two different women. She is possibly the most hypnotic Guiletta on record. As good as she is, however, she is not the best. that Would Be Sutherland.
As Hoffman, Stuart Burrows is good, but not great. He sings well enough, but his acting leaves something to be desired. As the four Villians,Norman Treigle is electrfying. His Dappertutto hypotic, his Lindorf oozing smile, his Coppelius creepy, and his Miracle downright frightining. He is especaily good in the men's trio in the third act.
Susanne Marsee handles Nicklausse and the muse well, but is not given any real chance to show herself off. Nico Castel handels Franz effortlessly, but seems uncomfertable as Spalanzani and Andres.
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Format: Audio CD
Sutherland, Callas and Sills. And the venom is spewed and the imbecilic attacks rage on. They were all three wonderful. So are others, but I for one like them the best. Callas was my first love, she's strange, but I still like her, her vicious off-stage personality (which I have a recording of) notwithstanding. How silly! I don't like Sutherland singing anything but coloratura, sorry, but all else bores me. I bought a CD of her Suor Angelica and hated and trashed it. But coloratura, she's a dream. Sills, however, is my favorite. I can't resist that silky, butter melting on a plate voice of hers. And her coloratura (and Callas') is no schlock either. But this opera. It was smooth and warm and beautiful. The sound quality was perfect. It was all sung in French, and for once the opera sounded it. It begins with some spoken dialogue (by the Muse) which turned me off and I was mad as hell and decided to throw the thing away, I thought I had been duped, cheated into another comic opera. But (sigh), I went back and discovered to my joy that it is all sung, and beautifully. Sills plays all Hoffman's loves. The trio at the end of Antonia's act was wonderful as far as the women went, but (sigh) Dr. Miracle was again the weak link. No one I've heard beats Bacquier on the Sutherland (a version with dialogue, sad to say) recording, but this one came close. The trio was beautiful of course (with that music and good singers, how could it miss), but I thought it lacked the spark on Sutherland's version. I'm sure I've enraged Callas fanatics and Sutherland devotees and maybe even a Sills fan or two. So be it. The order of acts are Olympia, Giulietta and Antonia. I enjoyed the opera which arrived yesterday and which I listened to this morning. If you like/love Sills as I do, I recommend it. Otherwise it's just another Hoffmann.
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Format: Audio CD
On a Texaco Metropolitan Opera broadcast, a panelist of the opera quiz was asked what opera he would choose if he was stranded on a desert island. He selected THE TALES OF HOFFMAN since there are so many versions of the opera, as well as a mention of DON GIOVANNI., he would easily have more than one opera. Since Offenbach died before an official version was completed, there are a number of versions of the opera. This production, starring Beverly Sills as Stella and the major heroines: Olympia, Giulietta, and Antonia, under the direction of conductor Julius Rudel, is the standard version of the work. If I could only take one version of this opera on a desert island, this recording would definitely be my choice.
I became familiar with this red cording when it was released on cassette by EMI. Hoffman, sung by tenor Stuart Burrows, is a down on his luck writer who is madly in love with the beautiful actress Stella. His love life is in shambles and he is an alcoholic to boot. He goes to a tavern to tell three tales, and the tales somehow reflect the pain he feels caused by his love for Stella. Burrows is a gifted tenor and he sings the role with both ease and dramatic gifts. Sills as the three heroines is perhaps at he bets and easily handles the challenges of the three roles. Julius Rudel keeps the score moving and is aided by the great London Symphony Orchestra and the equally great John Aldis Choir.
Anyone who peruses through the various HOFFMAN offerings will notice a variety of editions. While this is not a critical edition, I do find it the version which flows the best. I also have a number of HOFFMAN recordings with Neil Shicoff, Francisco Araiza, and Placido Domingo in the title role. While each recording has its strengths, this is the one I enjoy most. The tempo is upbeat, the singing first rate, and the orchestra and chorus are excellent. Who could ask for more?
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