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| Hoffmann (Grigolo), struggling with writing and the human condition. Photo (c) Met Opera |
Gentle Readers, I am the most delinquent of bloggers. I saw this season's Contes d'Hoffmann twice, and wrote of it neither after the first performance in the run, nor after the last. I took enough notes here, though, that I'd rather not let them (longer) languish, especially as the performances at the beginning and end of the run yielded rather different experiences, both interesting, and both engaging. I am almost the last person to wish to praise Bartlett Sher, whose productions have so oversaturated recent seasons at the Met (and will, alas, apparently continue to do so.) However, I really do like this
Contes d'Hoffmann production, in its gaudy shamelessness, in its willingness to let disturbing images sit unexplained. I hadn't seen it live since
2010, and I enjoyed it again. The Kleinzach song, of course, remains a problem--callous young men mocking a dwarf as a ludicrous figure--but there was a brief moment, at the end of the first performance, when it suddenly appeared as a despairing, horrifying commentary on the human condition.
