Notte e giorno mal dormire...Il était une fois à la cour d'Eisenach (Nicklausse,Hoffmann,Herman,Nathanaël,Chorus), 8. Je vous dis, moi, qu'un malheur me menace (Hoffmann, Lindorf, Nathanaël, Hermann, Chorus, Nicklausse, Luther), 10. Hoffmann arrives, and Spalanzani sings the praises of his “daughter” Olympia. Luther’s Tavern, Nuremberg. Coppélius takes his vengeance on Spalanzani by smashing Olympia. Nicklausse realizes that each woman in the three Hoffmann stories—Olympia the doll, Giulietta the courtesan, and Antonia the singer—represents a different side of Stella. Vous? 2, Couplets, "Dans les rôles d'amoureux langoureux" (Lindorf), 5. He orders her to sing, and her voice is heard from somewhere in the house. When the students rib Hoffmann about his passion for Stella, he begins to tell them the story of his three great loves. She dies in her grieving father’s arms. Hoffmann is tricked into believing his affections are returned, to the bemusement of Nicklausse, subtly attempting to warn his friend ("Voyez-la sous son éventail" – See her under her fan). The poet tells her to leave ("Farewell, I will not follow you, phantom, spectre of the past" – "Adieu, je ne vais pas vous suivre, fantôme, spectre du passé"), and Lindorf, waiting in the shadows, comes forth. Her father also forbids her to see Hoffmann, who encourages Antonia in her musical career, and therefore, endangers her without knowing it. Hoffmann arrives with Nicklausse, who urges the poet to concentrate solely on poetry. This production remained in the repertoire until World War II, receiving 700 performances. [8] The Paris Opera first staged the work in October 1974, directed by Patrice Chéreau with Nicolai Gedda in the title role. c'est ici! Est-il mort? Scène, "Voyons pour Hoffmann … Bon, je m'en doutais!" [12], Outside France, the piece was performed in Geneva, Budapest, Hamburg, New York, and Mexico in 1882, Vienna (Theater an der Wien), Prague, and Antwerp in 1883, and Lvov and Berlin in 1884. Coppélius, Olympia's co-creator and this act's incarnation of Nemesis, sells Hoffmann magic glasses to make Olympia appear as a real woman ("J'ai des yeux" – I have eyes). Offenbach saw a play, Les contes fantastiques d'Hoffmann, written by Barbier and Michel Carré and produced at the Odéon Theatre in Paris in 1851. (Hoffmann, Pitichinaccio, Nicklausse, Giulietta), 37. Lindorf is confident he will win her for himself. A tavern in Nuremberg: The Muse appears and reveals to the audience her purpose is to draw Hoffmann's attention, and make him abjure all other loves, so he can be devoted to her: poetry. A successful performance of this version was produced at the Lausanne Opera (Switzerland). Ah! In the interval he goes to the tavern where he tells his friends the tales of the three major loves of his life. Tourne, tourne, miroir oùse prend l'alouette (Dapertutto), 40. For Michael Powell and Emeric Pressburger's 1951 film of the opera, see. This act is loosely-based on Die Abenteuer der Silvester-Nacht (A New Year's Eve Adventure).