Please read Understanding catalogue records for help interpreting this information and Using footage for more information about accessing this film.

Title: TALES OF HOFFMANN

Reference number: 12301

Date: 1980, September 6

Sound: sound

Colour: bw

Fiction: fiction

Running time: 166.40 mins

Description: A performance of Tales of Hoffman, performed by The Scottish Ballet at the King’s Theatre in Edinburgh. Sound and commentary from the stage management crew is audible throughout. See also ref. 12344

Adapted from Offenbach's popular opera, the tales span Hoffmann's life from youth to old age and tell of his four loves: for a life-like doll, a ballerina, an alluring courtesan and an opera singer. (https://www.peterdarrell.org/content/works_1970s/)

‘With ‘Tales of Hoffmann’, Darrell’s flair for vivid storytelling produced one of the company’s most popular works – indeed, this witty, original response to Offenbach’s music was still being regularly revived, and still being acclaimed by audiences and critics alike, until the end of the 1990s.’ (Scottish Ballet: Forty Years, p.17)

‘This ballet, already acknowledged as a classic in its own time, is adapted from the story and music of Offenbach’s popular opera of the same name. The tales which Span Hoffmann’s life from youth to old age tell of his four loves, first of an opera singer, then a life-like doll, next a ballerina and finally for an alluring courtesan.

Peter Darrell’s production of Tales of Hoffmann was first presented by The Scottish Ballet in 1972 and occupies a deservedly popular place in the company’s repertoire. It was chosen for a Royal Gala Performance in Glasgow in the presence of Her Majesty Queen Elizabeth the Queen Mother in March 1979.’ (STA SB 15/3d)

Tales of Hoffmann was premiered by The Scottish Ballet at the King’s Theatre, Edinburgh on 6 April 1972. Tales of Hoffmann has been recorded in Benesh Movement Notation by Bronwen Curry.
(STA SB 15/11e)

In between Acts One and Two of Tales of Hoffman, this recording jumps to an excerpt from Cheri. The performance is similar, but not identical to ref 10917 and may also feature Patrick Bissell and Galina Samsova. Following Act Two, the tape cuts to an excerpt from a production of Cinderella. In scene from the end of Act One, the step sisters dance and the fairy godmother arrives and transforms Cinderella for the ball. This recording is similar to ref. 11320, which was recorded at His Majesty's Theatre in Aberdeen, on 12 December 1979. However these are two separate performances. Following the Epilogue, the tape cuts to a TV recording of another ballet, not by Scottish Ballet. Although the tapes preserved by the National Library of Scotland Moving Image Archive also have such extracts from Cinderella and Cheri on them, these three tapes together represent a full recording of Tales of Hoffman.

The Scottish Theatre Archive holds material relating to this production, including: The Tales of Hoffmann. Bournemouth Pavillion, Bournemouth, 1979 June 1-2. Programme. Call number STA SB 15/11e
The Tales of Hoffmann. King's Theatre, Edinburgh, 1980 August 17-September 6. Leaflet. Call number STA SB 15/3d

See also https://www.peterdarrell.org/content/works_1970s/
https://www.peterdarrell.org/content/works_1980s/

Please note this is a copy of the raw capture of the original analogue video for preservation and as such may display defects such as dropout, washed out colour and sound fluctuation.

Credits: Tales of Hoffmann
Choreographer: Peter Darrell
Music: Jacques Offenbach, arranged by John Lanchberry
Designs by: Alastair Livingstone
Lighting: John B Read
Scenario: Peter Darrell

Cast: Wendy Roe, Noriko Ohara, Eleanor Moore, Sally Collard-Gentle, Paul Tyers, and Nigel Spencer.

[Cheri
Choreographer: Peter Darrell
Music: David Earl
Scenario: Colette de Jouvenal and Peter Darrell, based on the book by Colette
Designer: Philip Prowse
Lighting: Ian Irving

Cinderella
Choreography: Peter Darrell
Music: Gioacchino Rossini, arranged by Bramwell Tovey (Excerpts from La Cenerentola and other operas, little known ballets and piano music)
Designer: John Fraser
Lighting: John B Read]

Shotlist: Prologue (00.07-12.40)
La Stella - A tavern outside the Opera House
Hoffmann is drinking with his friends while awaiting the arrival of La Stella, his latest love, who is appearing at the Opera House. He is asked to explain the significance of three souvenirs which are on his table but at first refuses. La Stella arrives and gives her maid a note for Hoffmann which, unseen by him, is intercepted by Counsellor Lindorf. Hoffmann, now a little drunk, agrees to tell the stories behind the three souvenirs

Act One (12.45-36.46)
Olympia (the first tale) - The conservatory in Spalanzani’s house
Spalanzalni has invited some friends to see his latest creation: the life like doll, Olympia. The adolescent Hoffmann sees Olympia from afar and tries to meet her. Spalanzalni announces that Olympia will dance for his guests, but first insists that Hoffmann wear some magic spectacles. Hoffmann immediately falls in love with Olympa and asks for her and in marriage. Spalanzalni is delighted with his deception. He agrees, and Hoffmann whirls Olympia into a dance, during which he loses the spectacles. The doll falls apart and Hoffmann realises he has been tricked.

[Cheri] (37.07-1.02.14)

Act Two (00.06-29.35)
Antonia (the second tale) - The music room of Antonia’s home
Then years later, Hoffmann, in love with Antonia, is taking music lessons from her father. Behind her father’s back, Antonia flirts with Hoffmann, while dancing to his playing. When they are discovered, her father dismisses Hoffmann and warns Antonia that too much exertion will be fatal to her. Doctor Miracle suddenly appears. He promises to cure her and hypnotises her into believing that she is a great ballerina. Hoffmann returns and Antonia, enthralled by her vision, implores him to play so that she may dance again. Urged on by Doctor Miracle, Hoffmann reluctantly does so until, overcome, she dies in his arms.

[Cinderella] (29.59-45.17)

Act Three (00.35-22.54) (00.07-22.23)
Giulietta (the third tale) - Dapertutto’s salon
Hoffmann, now an older and more serious man, has turned to religion for comfort from his earlier disappointments. He finds himself in the salon of Dapertutto, who tries to lure him to the enjoyment of sensual pleasures but without success, until the arrival of the courtesan, Giulietta. Goaded by Dapertutto, she so seduces Hoffmann that he renounces his faith but realises, when his reflection disappears form the mirror, that he has lost his immortal soul. In his anguish he prays that he may be forgiven and as his reflection reappears, Giulietta and Dapertutto are drawn into the mirror and vanish.

Epilogue (25.54-33.20) (25.25-32.51)
La Stella - The tavern outside the Opera House
Hoffmann, his stories told, is offered more drink by the sinister Counsellor Lindorf. La Stella emerges from the Opera House looking for Hoffmann and finds him in a drunken sleep, her note crushed on the ground. Sad and disappointed she is led away by Counsellor Lindorf. Hoffmann, roused from his stupor, realises that again he has been duped by the evil presence that has pursued him throughout his life.

Curtain call (33.31-35.05) (33.04-34.35)

[TV ballet footage] (35.20-58.45)

[Note: Although the tapes preserved by the National Library of Scotland Moving Image Archive also have such extracts from Cinderella and Cheri on them, these three tapes together represent a full recording of Tales of Hoffman.]