Coming Up
Tales of Hoffmann
Friday 14th & Saturday 15th September 2018 @ 7.30pm
Irish National Opera
Buy tickets HERE
One narrator. Drunk. The story of the women in his life. The complications of his current love and his current rival. And an evil shadow that follows him everywhere.
Offenbach was dubbed “the Mozart of the Champs-Élysées” by Rossini. His lyrical, effervescent final opera, left unfinished at his death, with its plot of strange, outrageous loves, an ever-present evil genius, not to mention the famous Barcarolle (borrowed from an earlier work) and an aria for a wind-up mechanical doll, is a treasure-trove for an imaginative director.
“I warn others solemnly that Offenbach's music is wicked. It is abandoned stuff: every accent in it is a snap of the fingers in the face of moral responsibility: every ripple and sparkle on its surface twits me for my teetotalism, and mocks at the early rising of which I fully intend to make a habit some day.” — George Bernard Shaw, 1889
Irish National Opera
Buy tickets HERE
One narrator. Drunk. The story of the women in his life. The complications of his current love and his current rival. And an evil shadow that follows him everywhere.
Offenbach was dubbed “the Mozart of the Champs-Élysées” by Rossini. His lyrical, effervescent final opera, left unfinished at his death, with its plot of strange, outrageous loves, an ever-present evil genius, not to mention the famous Barcarolle (borrowed from an earlier work) and an aria for a wind-up mechanical doll, is a treasure-trove for an imaginative director.
“I warn others solemnly that Offenbach's music is wicked. It is abandoned stuff: every accent in it is a snap of the fingers in the face of moral responsibility: every ripple and sparkle on its surface twits me for my teetotalism, and mocks at the early rising of which I fully intend to make a habit some day.” — George Bernard Shaw, 1889
