14 November 2016 at 5.20pm | Comment on this article
‘Les oiseaux dans la charmille’, also known as the Doll Aria from Les Contes d’Hoffmann, is infamously difficult to sing. It is sung in Act I by Olympia, a mechanical doll who the hapless Hoffmann believes to be human. For much of the act, Olympia simply says ‘oui’ (yes) to anything asked of her, but Offenbach more than makes up for this in her aria. Written for the French soprano Adèle Isaac – a star of Paris’s Opéra-Comique known for her interpretations of challenging roles such as Marie (La Fille du régiment), Isabelle (Robert le diable) and Juliette (Roméo et Juliette) – it is a virtuoso tour-de-force, packed with stratospheric coloratura.
Where does it take place in the opera?
The Doll Aria takes place in Act I, when the inventor Spalanzani hosts a party at his Paris home. In the previous scene, the gullible Hoffmann – deaf to the warnings of his friend Nicklausse – is duped by Spalanzani into believing that Olympia is the inventor’s daughter. Spalanzani is helped in his ruse by the fiendish scientist Coppélius, who sells Hoffmann a pair of magical glasses that make Olympia appear fully human. When Olympia performs her song for Spalanzani’s party guests, Hoffmann is so impressed that he determines to marry the doll.
What do the lyrics mean?
The words of Olympia’s two-verse aria are self-consciously sentimental and repetitive, as befits her mechanical state. In the first verse she sings of how the songs of birds awaken thoughts of love in her young soul; in the second of how her loving heart is moved by songs and sighs. Both verses end with the coy refrain ‘this is the lovely song of Olympia’. Read Jonathan Burton’s translation below, created for The Royal Opera:
|Les oiseaux dans la charmille,
Dans les cieux l’astre du jour
Tout parle à la jeune fille d’amour!
Voilà la chanson gentille, la chanson d’Olympia!
Les oiseaux dans la charmille,
|The birds in the bower,
The sun in the sky
To a maiden everything speaks of love!
This is Olympia’s pretty song.
Everything that sings and echoes
What makes the music so memorable?
Offenbach’s music perfectly characterizes a mechanical doll, with a pretty melody sung to a waltz rhythm, and delicate harp and flute accompaniment reminiscent of the sound of musical boxes (possibly mimicking the real musical clockwork dolls popular in late 19th-century France). However, Olympia isno ordinary automaton; her melody line becomes progressively more ornate during the aria’s first verse (particularly in the flamboyant vocalise that ends its refrain) and by the second verse she’s in full exhibitionist mode, decorating her melody with as many trills, flourishes, roulades and stratospherically high notes as any coloratura soprano could wish for. She pays the price for this display though – during both refrains her mechanics run down, causing her to collapse until Spalanzani winds her up again. The second time, he clearly does his job rather too well, as Olympia soars to new heights in the hyperactive closing cadenza.
Hoffmann’s other musical highlights
Les Contes d’Hoffmann contains a glut of wonderful arias, duets and ensembles. The protagonist’s solo numbers include the Prologue’s ‘Chanson de Kleinzach’ in which the poet moves from wit to romantic reverie and back, and the hedonistic Act II aria ‘Amis, l’amour tendre et reveur, erreur!’. The devilish villains naturally get plenty of good tunes, including Lindorf’s cynical and boastful ‘Dans les rôles d’amoureux langoureux’. Among the duets, the best known is perhaps the sensual Barcarolle ‘Belle nuit, ô nuit d’amour’ that opens the Giulietta act; a lesser-known treat is Hoffmann and Antonia’s poignant ‘C’est une chanson d’amour’, one of the opera’s few genuinely romantic episodes. Other highlights include the Prologue’s ebullient drinking chorus, Act II’s dramatic septet (sung as Hoffmann realizes that Giulietta has stolen his reflection) and Antonia’s nostalgic aria ‘Elle a fui, la tourterelle’ that opens Act III.
Les Contes d’Hoffmann doesn’t lack good recordings. EMI’s bargain box-set conducted by André Cluytens features Nicolai Gedda as Hoffmann, one of his greatest roles; his duet with Victoria de los Ángeles’s Antonia is unforgettable. Domingo fans can enjoy the 1972 Decca recording with the inimitable Joan Sutherland as the three heroines; another Domingo option is the 1981 live Salzburg recording, with José van Dam in devilishly good form as the four villains, conducted by James Levine. Kent Nagano’s 2011 recording (Erato) features Roberto Alagna as Hoffmann and Natalie Dessay on sparkling form as Olympia, among other delights. There’s a good choice of DVD recordings too, including The Royal Opera’s production with Domingo as Hoffmann.
More to discover
Offenbach’s only other opera (Die Rheinnixen) hasn’t ever entered the repertory, but several of his operettas are easily available on CD and DVD. Orphée aux Enfers (with its famous can-can) and La Belle Hélène offer a hilarious take on Greek myths, or you can luxuriate in the hedonistic Paris party scene with La Vie parisienne. La Grande-Duchesse de Gérolstein is worth a listen too, particularly for the heroine’s rousing arias. On a more serious note, Massenet’s opera Werther offers another take on the romantic artist searching for the ideal woman, as does Gounod’s Faust, where the hero is prepared to sell his soul to the devil for love and youth. And if you’re after operas about artists and their love affairs, there’s always Puccini’s much-loved La bohème.
Les Contes d’Hoffmann runs until 3 December 2016. Tickets are still available.
The production will be broadcast live to cinemas around the world on 15 November 2016. Find your nearest cinema.
The production is staged with generous philanthropic support from Mrs Aline Foriel-Destezet and Mr and Mrs Christopher W.T. Johnston.