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As an opera Offenbach's "Tales of Hoffmann" survives miraculously. As entertainment it continues to please a audiences no matter how well they know its hocus-pocus and bizarre stories. Its return to the Metropolitan repertory Saturday night had novelty nonetheless. Three members of the cast each sang four roles, some kind of a record for a performance of this work.

Though Anna Moffo was suffering from laryngitis, she chose to carry through her four roles of Olympia, Giulietta, Antonia, and La Stella. In doing so she unified the story by making Hoffmann's four loves the same in essence just as George London's portrayal of the four personifications of Hoffmann's evil genius did the same. What made their portrayals successful was the degree of characterization each achieved.

Tour de Force

Yet the finest achievement in characterization came when Alessio De Paolis enacted his roles as Andres, Cochenille, Pitichinaccio, and Frantz. He is a genius in making the most of minor roles and having such fun in doing so.

Miss Moffo triumphed over her handicap because of an excellent vocal technique and intelligent handling of her voice. She sounded best as Antonia, possibly because the ailing Antonia offered a sympathetic counterpart for Miss Moffo's own plight. Under the circumstances, she manipulated Olympia's coloratura role quite remarkably. It was something of a tour de force to perform these four roles and she emerged from the performance a first class singing actress as well as a good trouper.

London brought his excellent stage presence to bear in each role and sang handsomely as well. As Hoffman, Nicolas Gedda conveyed the illusion of the charming poet effectively, using his somewhat light tenor to advantage. Helen Vanni looked well as Nicklausse and sang the role spiritedly. The remainder of the cast sustained their level of performance.

Cyril Ritchard's stage direction exacts the requisite amount of entertainment from the work, and Rolf Gerard's sets and costumes contribute definite pictorial value. Jean

Morel conducted in routine fashion, unfortunately, for this opera needs much more magic in the pit even than on stage to make it the sure-fire theatrical success it should always be.

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Search by title: Les Contes d'Hoffmann,

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