When one thinks about a night at the opera, we envision a beautiful theater, plush carpets, formal wear and in general a wonderful evening filled with drama and beautiful singing. Housed in the gorgeous Harrison Opera house in Norfolk one could not find a nicer environment in which to see an opera performance. The Virginia Opera does not disappoint.

This season's opener, Offenbach's Tales of Hoffman, is no exception. Telling us the story of hopeless romantic Hoffman, who is waiting for his latest love in a tavern while she performs in a theater next door. However another suitor has foiled his plans by intercepting a letter from his lady love. Getting more and more intoxicated Hoffman regales the students in the tavern with the stories of three other times in which he was in love and tragedy strikes.

First he tells us of Olympia who, despite being very aggressive ends up being, ahem… "mechanical" in her love of Hoffman. The next story tells us of Antonia, who has consumption and is whisked away by her father and forbidden her to sing or see Hoffman. Which brings us to Giulietta a courtesan who steals Hoffman’s reflection and his heart and leaves him for jewels and wealth. So all in all, what more could one want in an opera? Love, disguises and even consumption.

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Unlike most productions of Hoffman, which are set in the 1800's, stage director Lillian Groag set us in the 1920s with beautiful flapper costumes and a huge tavern full of liquor up to the ceiling on shelves that are removed as Hoffman tells each of his stories. Groag has always been my favorite stage director at Virginia Opera because opera is often criticized about the lack of "acting" and she always makes sure that everyone one on stage has a purpose is expected to do more then just sing and this production was no exception. However the director stretches a bit too far in the setting of 1920's style dancing and movement to Offenbach's music which at times can be confusing and distracting. Similarly, elements in the chorus tend to suck focus and prove more distracting. For instance there is a female chorus member dressed in a male tuxedo who dances and flirts with women and men alike. Not only would this have not gone unnoticed and accepted in this environment in the 20's, as it does,  but it also keeps us watching her and wondering (I felt like I was playing "Where's Waldo" every scene she was in).  A valiant effort at variety and spice gone awry.

Snyder’s Hoffman was spot on both vocally and dramatically. His voice has a color and timbre that gets more brilliant the higher sings yet the voice is never so pointed that is difficult to listen to. His voice made me want to hear him in 'Magic Flute" or "elixir of love" just to hear that beautiful instrument in those gorgeous arias (I know it isn't his fach, but it would still be beautiful).

Evard was also amazing - her voice always sounding effortless and her comedic timing was truly amazing. Having seen Sumi Jo in this role Evard had a lot to live up to and over all she did. Unlike most coloraturas her chest voice was just as brilliant as the top and I must say that she gave Sumi Jo a true run for her money.

Griaeff's voice was also very good as Nicklausse though dramatically the role was e lacking. Nicklausse is a muse both to the audience and to Hoffman and should be infectious in every scene so when she reveals herself to Hoffman we feel a sense of relief and triumph that love won the day but instead to quote my date who has never seen the show we were left with "Who's that woman on the bar that was she in the rest of the show.

Bilgili was a delectable villain with a phenomenal voice and a truly slimy and evil air about him. When he was on stage he was seductive and evil and his voice captured both while managing to stay beautiful.

Highlights included the “Doll song", “Kleinzack" “Elle a fui la tourterelle”, and “The Barcarolle”. All were well sung and well acted and the show did not feel anywhere close to three hours. Another highlight was Dean Anthony's portrayal of the deaf servant.

He had me in absolute fits of laughter

The lighting was colorful and very well done, distinct in each scene. The costumes were perfect, especially Olympia's.
   
Virginia Opera started their season off with a bang. This production was absolutely amazing. I can’t imagine a better opener. This production had all the elements needed for a wonderful evening. I strongly urge everyone to see it. I promise you won’t be disappointed if you do.