Dapertutto's Arias

Shadows, Reflections, Diamonds and Mirrors are Quite Different.

At the world premiere of Offenbach's posthumous masterpiece, Les contes d'Hoffmann, the entire Giulietta act was cut and it did not figure in Ernest Guiraud's first redaction of the opera. In his second redaction (with the Giulietta act), Guiraud respected the fact that Offenbach composed the chanson "Tourne, tourne miroir" for Dapertutto and provided a recitative to introduce that music. Many years later, Raoul Gunsbourg, the impresario of the Monte-Carlo opera assigned the "Tourne, tourne miroir to Coppélius to sing in the Olympia act instead of Offenbach's Trio, No. 8, "Ange du ciel est-ce bien toi." Gunsbourg and his colleagues replaced Dapertutto solo in the Giulietta Act with the aria "Scintille diamant," which has become a favorite of audiences and singers around the world.

Michael Kaye recalls, "one day, as we were studying the Hoffmann manuscripts together, the late Sir Charles Mackerras asked me 'why can't you have both Tourne, tourne miroir AND the Scintille diamant for Dapertutto?' At first it sounded like a strange idea, but I found a way to make that possible in the context of Offenbach and Barbier's original dramaturgy for the opera, both in versions with spoken dialogue and with Guiraud recitatives slightly adjusted for that purpose." You are hearing the result in this little video.

Left alone onstage, Dapertutto sings "Tourne, tourne miroir" to lure Giulietta to him so she will be fascinated by the diamond he will offer her if she obtains Hoffmann's reflection. Then, taking the cue from information we learn in the original dialogue version—that this diamond is worth millions and has magic properties that make ALL women flock to Dapertutto—he has the option to interpolate "Scintille diamant." The women of the chorus (guests at Giulietta's soirée, who are being paid to stand around with very little to do in this act) can surround Dapertutto as he sings this favorite apochryphal aria as a bonus.

Sir Charles was right, it can be done. This way one retains the authenticity of Offenbach's original creation, as well as providing satisfaction for those who prefer not to do without "Scintille diamant" — assuming that Dapertutto is being sung by someone who can deliver the goods in the first place. If not, it's better just to use the orginal "Tourne, Tourne miroir" and get on with things.

Les contes d'Hoffmann in the edition of Michael Kaye (now a co-edition of the opera with Jean-Christophe Keck published Schott Music in collaboration with Boosey and Hawkes and Bote&Bock). See also
http://tinyurl.com/32tbww
http://tinyurl.com/2ejxgg2
http://tinyurl.com/2ffaxsv
http://tinyurl.com/2bzr2ds
http://tinyurl.com/5qw9j3

Category:

Music

Tags:

• Opera