JACQUES OFFENBACH The Tales of Hoffmann (Les Contes d’Hoffmann) An Operatic Fantasy in Five Acts Libretto, based on the play of the same name by Jules Barbier and Michael Carré Jules Barbier New critical edition, based on original sources, by Fritz Ocser English translation by Walter Ducloux PIANO-VOCAL SCORE ALKOR-EDITION KASSEL AE 333¢‘As concerns this edition, all rights of theatrical, radio and tele~ jon performance, mechanical reproduction in any form what- soever, translation of the work, either in its entirety or in part, are strictly reserved. 8. F. PUBLIC LIBRARY 95 - ol For rental: Fall score—orchestral parts—chorus parts For sale: Piano-vocal score—Editorial and Research Report © 1982 Alkor-Edition Kassel / Printed in Germany 1982 3 1223 06466 7075Aux Héritiers de Jacques Offenbach To the Heirs of Jacques Offenbach 6 50545 SFPL: _F~BKS 140 SFPL 10/24/03 5053CAST Hoffmann 6 ee es Tenor ‘The Muse TieMawe | . Mezzosoprano Lindorf Coppetius | ee Bass (Baritone) Dapertutto Andreas Pitichinaccio bmn onia ze | Stella The Voice + Contrato ‘Nathanael ee eee Tenor en } . Baritone t=) }eapoe eee eee + Bass (Baritone) CHORUS AND BALLET Invisible Spirits — Waiters — Students and Friends of Hoffmann — Guests of Spalanzani — Girls and Guests of Giulietta ORCHESTRA 2 Flutes (2nd dbl.w/Piccolo) 4Homs 2Oboes (2nd dbl.w/English Horn) 2 Trumpets (Cornets) 2.Clarinets 3 Trombones 2.Bassoons Harp Timpani — Percussion: Triangle, Tambourine, Castaiets, Cymbals, Bass Drum, Snare Drum, Tam-Tam, Glockenspie! Strings ON STAGE Flute, Harp, Chime in B-flat (played by orchestra-members)CONTENTS ActI (Prologue): Hoffmann Inside a German tavern No.1 Prelude and Introduction (Chorus, Muse). . 1 Glu, shu shu... Wonderful lather... Mute: Tveheardit sad that wine u No.2 Recitative and Couplet (Lindorf, Andreas). 20 Tapoke with you ost yesterday Lindorf sTimnomaster at billing nd cooing. « 26 No.3 _ Scene and Chorus (Luther, Hermann, Nathanael, Male Chorus) 30 Get ready forthe crowd No.4 Scene and Chanson (The above-mentioned, Lindorf, Hoffmann, Niklaus) a ‘As for women and rong Hoffmann: Youknowthatatthecout 6 6 oe ee so No.5 _ Finale (The above-mentioned) 6 Atlast you're making sense. Act I: Olympia ‘An Inventor's workshop No.6 Scene A—Recitative and Couplet (Spalanzani, Hoffmann, Cochenille, Niklaus) 78 There... she's sleep! Niklas: Justlook at that delicate motion 85 No.7 Recitative and Trio — Scene B (Hoffmann, Niklaus, Coppelius, palanzan, Cochenille). ses ve ve = 7 Now she should be awake No.8 Chorus, Scene, and Couplet (The abovementioned without Coppelus — Olympia, Chorus)...» 107 Wie ete could bea beter hort Olympia: Birds awing are sweetly wetting ©. ee 320 No.9 Recitative and Romanza (Hoffmann, Olympia)... . + 130 [At last am alone with you Hoffmann: Wetwoalone ©. eee eee eee +. No.0 Finale (Hoffmann, Olympia, Niklaus, Coppelas, Splanzan, Cochenile, Cs ee eee eer errr re 14 What is wrong? Hoffmann: Stubbomlkemules 60000Antonia ‘Aroom in Crespel’s house No.1 Romanza—SceneC (Antonia; Crespel, Franz). 2 2 ve ss 159 Lost to me, dear litle creature... No.12 Couplet—Scene D (Franz; Hoffmann, Niklaus) .. . . ce 168 Day and night Iam off and running. No.13. Recitative and Romanza—SzeneE (Hoffmann, Niklaus, Antonia)... . . . 172 ‘Atlast now can ask of her Niklaws: Vibrant its sounds start toflow 0 1TH No. 14 Duet—Scene F (Antonia, Hoffmann; Crespel, Franz, Miracle)... . . . . . 180 How could fever doubt Hoffmann: Tousthegood Lordhas granted oe ee eee ee 183 Antonia: Fly litle tune all he way tothemoon «+ + See 190 No. 15. Trio—Scene G (Hoffmann, Crespel, Miracle; Antonia)... 199 To finda cure for her ease No.16.Trio-Finale (Antonia, Miracle the Voice ofthe Mother; Crespel, Hoffmann, Niklaus) oo ee 220 ‘You wil not sng again Act IV: Giulietta Part 1: A palace in Venice No.17 Barcarole, Recitative and Drinking Song (Niklaus, Giulietta, Chorus; Hoff- ‘mann, Pitichinaccio) . . . . . . 245 ‘Beautiful, enchanted night .. Hoffmann: Couldlovetbe thewizard weknow 0 6. ss + ce 5 285 No. 18 Scene H — Chanson — Scene I (The above-mentioned, Schlemihl, Dapertutto 259 1 see, you all are happy Dapertutto: Brillant bright,cath yourprey <6 ee 266 Part 2: A gaming-room in the palace No.19 Quartet with Chorus (Giulietta, Niklaus, Hoffmann, Schlemihl, Chorus)... 279 ‘Venus said to Fortuna... Chorus: Comeenoughdebating ©. ee ee 5 293 art 3: Giulietta’s boudoir No. 20 Scena and Aria (Giulietta, Niklaus, Hoffmann, Dapertutto). . 310 Goodnight! No, stay awhile! Giulletta: Whocould knowhow muchIsuffer 6 0 eee ee 313No, 21. Duet (Giulietta, Hoffmann). 2 ee ee . 319 Hoffmann, he is right! Hoffmann: AthillIneverknews oo eee ee . 321 Giulletta: Asbond thatIwillneverloreyoa 2. 2 ee ee ee 327 Scene change back to Part 1 No. 22 Finale (Giulietta, Niklaus, Hoffmann Pitichinaccio, Schlemihl, Dapertutto, Chorus. eee res 335 In agrani Thad no doubte whatever Act V Epilogue): stella Luther's tavern, as in Act I No. 23 Interlude and Scena (Hoffmann, Niklaus, Lindorf, Luther, Nathanael, Her- mann, Male Chorus)... 2. ss 348 Atlast,now you know the story No. 24 Chorus (Hoffmann,MaleChorus). 2... 22.2.2 0s 353 ‘Lets light up the punch! No.26 Finale (Hoffmann, Niklas, Stell, Andreas, Lindorf, Nathanael, Hermann, Ghose ste net tenet ennns 356 “This the showdown Hoffmann: Arich old man was famous. . Sees +. 360 Niklaws: Yourgreatdreamoflove so eee 364 The Muse: Anew, etemal glow. 5.6 5 es eee 370 Appendix L Alternatives... . beeen eee ee 38 Coupletof Niklaus (last version) ©... vs 382 Chanson of Olympia (firstversion) ©... ee 384 II, Supplements By Offenbach. . 2... eee 6 388 Notby Offenbach eee 38 Supplement1: Miscellaneous... ee +. 401 Supplement 2: Spoken Dialogue podoous + 405 Suggestedeuts ee cere ras!PREFACE ‘This edition of Offenbach’s last and most successful ‘opera differs from previous editions in three ways: it offers for the first time both a new German trans- lation and the French original side by side; in addition to the rectatives it includes the spoken dialogue which replaces them; and itis based on the discovery and analysis of manuscripts hitherto inaccessible. ‘The results of this analysis of the opera's sources are important enough to warrant some clarification and documentation. This is the purpose of A REPORT containing detailed information about the writing of the opera, the available manuscripts providing differ- ing concepts, as well as a history of performances and editions. This will be published in a separate volume in the way used by the author in his recent critical edition of “Carmen”. This short preface, however, can only summarize the main results of the research In the case of statements, the validity of which the reader might wish to check for himself, there is the symbol ©, indicating that further arguments and documentation can be found in A REPORT. ‘The hand-written orchestral scores of the Antonia ‘Act and the Epilogue as wel as the autographic vocal score of the Duet No. 14 from the Bibliotheque Na- tonale in Paris were already known, although they hhad never been subjected to critical scrutiny. Offen- bach’s sketch book of 1877/8 (a microfilm of which the Pierpont-Morgan-Library in New York generously placed at my disposal) also provided information. Our Investigation of these manuscripts was facliated, supplemented and made more thorough by a manu- script collection of unique importance, consisting of 11660 pages in the possession of Offenbach’s descend- ants. It contains the orchestral score of the Venice- Act, sketches and drafts relating to the entire opera ‘as well as a fair copy in the form of a vocal score in Offenbach’s own hand. In the copyist’s hand there ‘are copies of various portions of the opera, vocal and. ‘horus parts and adaptations of the score. In addition, there are fragments of the libretto, hand-written by Jules Barbier. Permission to examine the manuscripts was obtained through the generosity of the conductor and Offenbach scholar Antonio de Almeida (the au- thor of a thematic catalogue of Offenbach’s complete works). Thanks are due not only to him but also in avery special degree to those who carefully preserved COffenbach’s papers and made their investigation pos- sible: Madame and Monsieur Frangois Cusset, the master’s great-grandchildren. ‘Through these manuscripts source material could be found covering almost the entre musical text of the pre- sent edition. Documentary sources are lacking only for {few bars in the Rist and second Acts (beginning with No. 117) @. To judge by our knowledge of the other three acts it appears doubtful that a rediscovery of the ‘orchestra score ofthe first two acts would contribute any few insights, unless of course It clarified the transition from Act Ito Act I (p, 77). Barring further information, ‘we may assume that the B-flat Major cadenza like the the anticipation ofthe guest's ‘minuet—was an expedient made necessary by the scene change @. The preparation of the score itself, Le. the {transcribing of vocal and plano parts onto the (usually ‘2e-line) musie-paper was something Offenbach normally left to his copysts. In the case of "The Tales of Hoff- mann’, this filing in of the empty staffs never took place. After his unexpectedly sudden death lind son asked Ernest Guiraud to complete the instrumen- {ation. Completed and further modified, probably by J. Danbé the conductor, the score was printed and per~ formed. Consequently, one can view it only as a source of secondary importance. Compared to this score and its piano arrangements, the new edition shows an increase of 1677 bars and ‘loss of 590 bars, This difference would be difficult to understand were it not forthe fact thatthe opera's hitherto accepted form had long invited suspicion. Particularly in recent years it wasn’t so much the bio- ‘raphers and musical historians, but the stage-direc- tors, dramaturges, and critics who have called for a