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Juan Diego Flórez as Hoffmann in Damiano Michieletto's production of The Tales of Hoffmann (Photo: Camilla Greenwell)

With the Damoclean Sword of John Schlesinger’s much-loved 1980 production hanging over it, Damiano Michieletto’s staging of Offenbach’s swansong swept into town (having previously been seen in Sydney and Venice). The old production had become tatty and clichéd so it was about time it was replaced. But be careful what you wish for; the new staging is lively, often misguided and at times plain stupid. Michieletto catches the eccentricity of ETA Hoffmann’s stories but then relies on surface glitter to carry the show through - stilts and some sequinned nipples won’t save the day, it is just Baz Lurhmann Lite. I have never seen Olympia’s aria staged so unimaginatively and Antonia’s is upstaged by a child ballerina prancing at the footlights. Hoffmann’s sobriety is impressive, and if Nicklausse is a parrot I’d have it checked for feather molt. And why is Antonia a dancer when the libretto continually tells us that it is singing that endangers her life. Michieletto displays a lack of interest in the diegetic elements of the opera; every character tells stories and the constant shift is fascinating. Here we get the obvious fantasy but not the memories and lies.

Antonello Manacorda’s conducting kept things on the move and he allowed the big moments their due, having said which, he often stopped for applause that never came. The production used the Oeser edition, perhaps already slightly dated given continuing research, but I appreciate a decision has to be made. The chorus sounded good but sometimes got out of time, notably in the Giulietta act where they were often left behind. Their direction was dire and generally they were just made to look ridiculous.

Damiano Michieletto's production of Offenbach's The Tales of Hoffmann, The Royal Opera (Photo: Camilla Greenwell)

In the title role, Juan Diego Flórez offered a pleasing tenor and some lyric phrasing, plus great high notes. He didn’t provide any vocal thrust or passion and was often completely drowned out. His acting was generic and he looked like a nice chap trying out different hairstyles as he aged, but not like a desperate drunk revealing his tragic past. One of the most fun moments was when his wig almost came off in the Prologue. (Perhaps they could keep that in.) Alex Esposito hammed it up with gusto as the villains and he really did have the bravura the opera needs. Olga Pudova tweeted prettily as Olympia. Marina Costa-Jackson drove her truck of a voice bumpily over Giulietta’s music. Thankfully Ermonella Jaho’s Antonia offered pathos and luminous tone. Esposito, Jaho and Christine Rice as her mother really raised the temperature in their full-throttled trio. Julie Boulianne made little impression as Nicklausse, despite sounding good, and the supporting roles were not all cast from strength, though Alistair Miles did bring some gravitas to Crespel. An incredibly dispiriting production.