Opera: Coenraad Visser
WITH this revival of his 1991 production of Offenbach’s Les Contes d’Hoffmann (State Theatre), Neels Hansen does himself proud. This time round his direction is more detailed, and there is a stronger sense of energy that pervades the Olympia and Venetian scenes. He is no doubt helped by an enthusiastic (and splendid) male chorus and some confident acting, especially from the main
Keith Ikaia-Purdy is an astonishing Hoffmann, generous of voice without any hint of pressure. Even more pleasing were his considerable acting skills, including the rare ability always to attend to what others do on stage. A finer reading of this demanding role is difficult to imagine.
Most of the other male roles were filled with distinction, especially by Anton Stoltz (Spalanzani, Frantz and Pittichinaccio), surely now the finest character tenor in South Africa, and Rouel Beukes (Coppelius and Crespel).
Pity that the same could not be said of the women. The three heroines are sung by singers who are vocally not ideally suited to these roles. Hanli Stapela looks the part of the mechanical doll Olympia, her voice is bright and clear, but predictably she is ill at ease in high coloratura. The shrill edge to Mauri Mostert’s upper register makes her an unlikely singer to portray Antonia, the fragile young girl doomed to die. Dramatically, though, Mostert was confident and convincing.
Marita Napier may have been an unlikely choice as Giulietta, the Venetian femme fatale, but she lightens her voice deftly and, as always, years of experience on stage tell. Her portrayal is rich and varied, by far the most convincing of the heroines.
Eve Queler’s conducting debut in South Africa was eagerly awaited; she certainly lived up to her considerable reputation. She lovingly shaped phrases, carefully sustained momentum without ever rushing, and allowed the magnificent score to unfold unobtrusively. But there were moments when a price was paid for this unceasing pursuit of beauty (and what glorious sounds did not emanate from the orchestra pit), when one missed a sense of doom, or when fear should have struck one’s heart.
All in all, a production definitely worth seeing, especially for the outstanding Ikaia-Purdy.
Final performance of this season at 8pm, 4
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