The Hoffmann Case

Jacques Offenbach/Jules Barbier

Produced in collaboration with Opera Studio Nederland

Opera Studio Nederland invited Corina van Eijk and her entire "Spanga team" of designers to present Jacques Offenbach's last opera Les Contes d'Hoffmann as The Hoffmann Case. This provided a unique opportunity for people to see the much discussed work of Opera Spanga outside the limits of the Frisian village of Spanga.

The poet Hoffmann is captivated by Stella, who sings Donna Anna in Mozart's Don Giovanni. In the theater lounge during the intermission of the opera performance, Hoffmann's friends talk him into telling about his love affairs with Olympia, Antonia and Guillietta.

Stella's attributes are united in these three women .

We wander through the caverns of Hoffmann's soul. He narrates in a dream language in which fantasy appears to be reality. At the end of his story-telling the intoxicated Hoffmann sees Stella walk away arm in arm with his rival, Lindorf.

Hoffmann has no option other than to re-dedicate himself to art, under the inspirational guidance of his Muse.



Olympia Tara Pigal
Antonia Britt Truyts
Guillietta Melanie Horner
The Muse, Niklausse Madieke Marjon
Hoffmann Tao Tong
Lindorf Karel Martin Ludvik
Spalanzani Martijn Cornet
Frantz Robert Buckland
Crespel Jan Alofs
mother Klara Uleman
musical director Jos van de Blaak
director Corina van Eijk
adaption Jos van de Blaak, Bert van Cruchten
art direction Jolanda Lanslots
costume design Pieter van Rooij
make-up artist Maya Schiffers
gaffer Henk Post
photography Dinand van der Wal
editor Synco Scholvinck
producer Greetje Sluijs
assistant to the director Klara Uleman
orchestra Zuiderwind Blazersensemble


'The Hoffmann Case is also dominated by Van Eijk's fascination with imagery. Here this has resulted in a screen onto which animated images are projected very creatively. (...) Madieke Marjon's Niklausse is exquisite: the mezzo soprano sounds almost like an old-fashioned alto.'

NRC Handelsblad

'The combination of stage acting and projection (...) is cleverly done and leads to all sorts of jokes. In this manner Van Eijk manages to tell a nice story with few means, fleshing out the performance with numerous frivolous details. (...) a fine acting job by the young cast. (...) Magnificently exaggerated and grotesque. (...) pleasing to the ears.'

Opera Magazine

'The listeners seemed interested but were certainly no normal opera audience. They were thus very sparing with applause, even after the universally known Barcarolle. Neither was there a standing ovation at the end, although this would have been more appropriate than after many other performances we have seen in the Netherlands recently.'

Opera Gazet

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