382:
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883:" â "It's a love song"). After Crespel returns, he receives a visit from Dr Miracle, the act's Nemesis, forcing Crespel to let him heal her. Eavesdropping, Hoffmann learns Antonia may die if she sings too much. He returns to her boudoir, and makes her promise to give up her artistic-dreams. Antonia reluctantly accepts her lover's will. After she is alone, Dr Miracle enters Antonia's boudoir to persuade her to sing and follow her mother's path to glory, stating Hoffmann is sacrificing her to his brutishness, and loves her only for her beauty. With mystic powers, he raises a vision of Antonia's dead mother and induces Antonia to sing, causing her death. Crespel arrives just in time to witness his daughter's last breath. Hoffmann enters, and Crespel wants to kill him, thinking he is responsible for his daughter's death. Nicklausse saves his friend from the old man's vengeance.
774:
713:
275:
842:
1313:
vocal score, fragments of libretto and the Venice act orchestrated by
Guiraud. de Almeida considered the main improvement was âthe emergence of Nicklausse/Muse as the most important character after the title-roleâ giving meaning to the overall narrative and the MuseâHoffmann relationship. âWhen the Muse at the end sings to Hoffmann that it is to her he has to turn, the main thread of the work is made clearâ. This version also allowed Act 1 (Olympia) to flow directly from the Prologue (so the minuet is reserved for the entrance of the guests later); there is also a seamless transition from Act 3 (Giulietta) into the Epilogue. French Offenbach scholar
1240:
1285:
a passage where
Hoffmann realizes that he has lost his reflection. This edition held sway for many years around the world, while the practice arose of assigning the soprano roles to different singers, a basic denial of the dramatic unity of the work. Offenbach intended the four soprano roles be taken by the same singer, for Olympia, Giulietta, and Antonia are three facets of Stella, Hoffmann's unreachable love. Similarly, the four villains (Lindorf, Coppélius, Miracle, and Dapertutto) would be the same
67:
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862:: After a long search, Hoffmann finds the house where Crespel and his daughter Antonia are hiding. Hoffmann and Antonia loved each other, but were separated after Crespel decided to hide his daughter from Hoffmann. Antonia inherited her mother's talent for singing, but her father forbids her to sing because of her mysterious illness. Antonia wishes her lover would return to her ("
833:" â See her under her fan). While dancing with Olympia, Hoffmann falls on the ground and his glasses break. At the same time, CoppĂ©lius appears, tearing Olympia apart to retaliate against Spalanzani after cheating him of his fees. With the crowd ridiculing him, Hoffmann realizes he loved an automaton.
1335:
in 1988), but, then, additional authentic music was found, and published in 1999. In 2011 a critical joint edition ('Kaye-Keck') was released reflecting and reconciling the research of recent decades and productions drawing on this edition (including prior to its publication) have been premiered from
868:" â "She fled, the dove"). Her father also forbids her to see Hoffmann, who encourages Antonia in her musical career, and therefore, endangers her without knowing it. Crespel tells Frantz, his servant, to stay with his daughter, and after Crespel leaves, Frantz sings a comical song about his talents "
1572:
Ingo MĂŒller: Die
Rezeption E.T.A. Hoffmanns in der klassischen Musik des 19. bis 21. Jahrhunderts. In: âUnheimlich Fantastisch â E.T.A. Hoffmann 2022â. Begleitbuch zur Ausstellung der Staatsbibliothek Berlin in Zusammenarbeit mit dem Deutschen Romantik-Museum Frankfurt a. M. und der Staatsbibliothek
1284:
was added for
Dapertutto, and a sextet (sometimes called septet, counting the chorus) containing elements of the barcarolle, to make a climax to the final scene. Much of this was reproduced in 1907 by Choudens in performance materials, which also gave Dapertutto's original air to Coppélius and added
950:
for a literary antecedent), a previous victim of
Giulietta and Dapertutto (he gave Giulietta his shadow), challenges the poet to a duel, but is killed, thanks to the magic sword Hoffmann was supplied with by Dapertutto. Nicklausse wants to take Hoffmann away from Venice, and goes looking for horses.
1251:
Offenbach died four months before the premiere, having completed the piano score and some orchestration. As a result of this and the practical demands of the Opéra-Comique director, different editions of the opera emerged, some bearing little resemblance to his conception, with cuts or the addition
1312:
of the heir of one of the composer's daughters, containing
Offenbach's piano, and discovered a folder containing the manuscript parts (in the hand of Offenbach's copyists, but with autograph annotations), including those used in May 1879. The 1,250 manuscript-page find comprised parts of autograph
1330:
In 1984 a London auction sold manuscripts of 300 pages found at the ChĂąteau de
Cormatin, which had belonged to Gunsbourg, consisting of virtually all the cuts from the initial rehearsal period. American researcher Michael Kaye learnt about these and set about making his own edition of 1992 (first
974:
The tavern in
Nuremberg: Hoffmann, drunk, swears he will never love again, and explains Olympia, Antonia, and Giulietta are three facets of the same person, Stella. They represent, respectively, the young girl's, the musician's, and the courtesan's side of the prima donna. After Hoffmann says he
1350:
Writing in 1997, Andrew Lamb observed that âthe original order of acts, a single soprano heroine and single baritone vilain, identification of
Nicklause with the Museâ as well as removal of accretions by Barbier and Bloch âgive a faithful representation of Offenbach's conception".
827:" (The birds in the bower, nicknamed "The Doll Song"), during which she runs-down and needs to be wound-up before she can continue. Hoffmann is tricked into believing his affections are returned, to the bemusement of Nicklausse, subtly attempting to warn his friend ("
206:
had now set to music at the Opéra. Salomon handed the project to
Offenbach. Work proceeded slowly, interrupted by the composition of profitable lighter works. Offenbach had a premonition, like Antonia, the heroine of Act 2, that he would die prior to its completion.
999:"), and Lindorf, waiting in the shadows, comes forth. Nicklausse explains to Stella that Hoffmann does not love her anymore, but Councillor Lindorf is waiting for her. Some students enter the room for more drinking, while Stella and Lindorf leave together.
1343:(Switzerland). In early 2016, Jean-Christophe Keck announced that he had traced and identified the full manuscript of the Prologue and the Olympia act, with vocal lines by Offenbach and instrumentation by Guiraud. The Antonia act and epilogue are in the
1260:
published at least four divergent scores of the opera in 1881 and 1882. At the Opéra-Comique in Paris dialogue between musical numbers would be spoken; for productions outside France he would have composed recitatives to replace it.
2007:
Les Contes dâHoffmann. Jacques Offenbachâs âThe Tales of Hoffmannâ - The genesis of the work and new critical edition from the Offenbach experts Michael Kaye and Jean-Christophe Keck. Schott Music GmbH & Co. KG · Mainz,
993:" At this moment, Stella, tired of waiting for Hoffmann to come to her rendezvous, enters the tavern and finds him drunk. The poet tells her to leave ("Farewell, I will not follow you, phantom, spectre of the past" â "
802:" â Come on! Courage and trust... Ah! to live together!). To warn Hoffmann, Nicklausse, possessing the truth about Olympia, sings a story of a mechanical doll with the appearance of a human, but Hoffmann ignores her ("
210:
Offenbach continued working on the opera throughout 1880, attending some rehearsals. On 5 October 1880, he died with the manuscript in his hand, just four months before the opening. Shortly before he died, he wrote to
940:" â "Friends, tender and dreamy love"). Giulietta is not in love with Hoffmann, but seducing him under the orders of Captain Dapertutto, who promises her a diamond if she steals Hoffmann's reflection from a mirror ("
1289:, as they all represents the evil forces against which he is pitted. There were a few attempts to return to Offenbach's original intentions, including a âpioneering versionâ by the conductor Arthur Hammond for the
329:
The opera reached its hundredth performance at the Salle Favart on 15 December 1881. The fire at the Opéra-Comique in 1887 destroyed the orchestral parts, and it was not seen again in Paris until 1893, at the
278:
The death of Antonia (act 2) in the original 1881 production. In front: AdĂšle Isaac; in back (left to right): Hippolyte Belhomme, Marguerite Ugalde, Pierre Grivot, Ămile-Alexandre Taskin, Jean-Alexandre
1532:
756:. Lindorf intends to replace Hoffmann at the rendezvous. In the tavern, students wait for Hoffmann. He finally arrives, and entertains them with the legend of Kleinzach the dwarf ("
1906:
1883:
1840:
1800:
808:" â A doll with enamel eyes). CoppĂ©lius, Olympia's co-creator and this act's incarnation of Nemesis, sells Hoffmann magic glasses to make Olympia appear as a real woman ("
373:), Prague, and Antwerp in 1883, and Lvov and Berlin in 1884. Local premieres included Buenos Aires in 1894, St Petersburg in 1899, Barcelona in 1905, and London in 1910.
1339:
A version including the authentic music by Offenbach was reconstructed by the Offenbach scholar Jean-Christophe Keck. A performance of this version was produced at the
961:
Note: In the original version, Hoffmann, furious at being betrayed, tries to stab Giulietta but - blinded by Dapertutto - mistakenly kills his dwarf Pittichinaccio; in
746:
sends a letter to Hoffmann, requesting a meeting in her dressing room after the performance. The letter and the key to the room are intercepted by Councillor Lindorf ("
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appears and reveals to the audience her purpose is to draw Hoffmann's attention, and make him abjure all other loves, so he can be devoted to her:
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doesn't want to love any more, Nicklausse reveals she is the Muse and reclaims Hoffmann: "Be reborn a poet! I love you, Hoffmann! Be mine!" â "
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45. ApothĂ©ose: "Des cendres de ton cĆur" (Hoffmann, La Muse, Lindorf, AndrĂšs, Stella, Luther, NathanaĂ«l, Hermann, Wilhelm, Wolfram, Chorus).
1864:
891:
2342:
957:" â "O God! of what intoxication"): he gives her his reflection, only to be abandoned by the courtesan, to Dapertutto's great pleasure.
773:
3184:
1256:, after completing Offenbach's scoring, but without the Giulietta act, some of its music being moved to the Antonia act and epilogue.
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2125:
1573:
Bamberg, hg. von Benjamin Schlodder, Christina Schmitz, Bettina Wagner und Wolfgang Bunzel, Leipzig 2022, ISBN 3959055730 S. 315-322.
712:
1297:
tried to revert to Offenbach's conception for his 1971 complete recording, despite the major lack of source material at that time.
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9. Duo et ScĂšne: "Et par oĂč votre Diablerie" (Hoffmann, Nicklausse, Lindorf, Luther, NathanaĂ«l, Hermann, Wilhelm, Wolfram, Chorus).
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8. ScÚne: "Peuh! Cette biÚre est détestable" (Hoffmann, Nicklausse, Lindorf, Luther, Nathanaël, Hermann, Wilhelm, Wolfram, Chorus).
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40. Final: "Ah! Tu m'as défiée" (Hoffmann, Nicklausse, Dappertutto, Pittichinaccio, Giulietta, le capitaine des sbires, Chorus).
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7. Chanson: "Il était une fois à la cour d'Eisenach!" (Hoffmann, Lindorf, Luther, Nathanaël, Hermann, Wilhelm, Wolfram, Chorus).
877:
After Crespel leaves his house, Hoffmann takes advantage of the occasion to sneak in, and the lovers are re-united (love duet: "
3168:
765:" â Once upon a time at the court of Eisenach). Lindorf coaxes Hoffmann into telling the audience about his three great loves.
2657:
2614:
2521:
1317:
comments that Oeser in fact reorchestrated around three-quarters of the score, introducing new instruments, adding more from
1308:
in 1976 and Michael Kaye in 1988. While compiling a thematic catalogue of Offenbach's works, de Almeida went to the house in
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37. ScÚne de Jeu: "Giulietta, palsambleu!" (Hoffmann, Nicklausse, Dappertutto, Pittichinaccio, Giulietta, Schlémil, Chorus).
3234:
1027:
5. ScÚne et Choeur: "Deux heures devant moi... Drig, drig" (Lindorf, Luther, Nathanaël, Hermann, Wilhelm, Wolfram, Chorus).
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The work was the object of considerable further rewriting for a 1904 production in Monte Carlo by the theatre director
1537:
1300:
Since the 1970s new performing editions appeared, particularly after the discovery of manuscript sources by conductor
1030:
6. ScÚne: "Vrai Dieu! Mes amis" (Hoffmann, Nicklausse, Lindorf, Luther, Nathanaël, Hermann, Wilhelm, Wolfram, Chorus).
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43. ChĆur: "Glou! Glou! Glou!" (Hoffmann, Nicklausse, Lindorf, Luther, NathanaĂ«l, Hermann, Wilhelm, Wolfram, Chorus).
222:
Hùtez-vous de monter mon opéra. Il ne me reste plus longtemps à vivre et mon seul désir est d'assister à la premiÚre.
28:
24:
1042:
10. Final: "Je vous dis, moi" (Hoffmann, Nicklausse, Lindorf, Luther, Nathanaël, Hermann, Wilhelm, Wolfram, Chorus).
965:'s version, Giulietta is poisoned and dies, by accidentally drinking the philter Dapertutto prepares for Nicklausse.
2281:
1218:
1148:
33. Chant Bacchique: "Et moi, ce n'est pas lĂ , pardieu!... Amis, l'amour tendre et rĂȘveur" (Hoffmann, Nicklausse).
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841:
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created by the scientist Spalanzani. Hoffmann falls in love with her, not knowing Olympia is a mechanical doll ("
2541:
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1911:
1888:
1845:
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1301:
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20. Final: "En place les danseurs" (Hoffmann, Nicklausse, Coppélius, Cochenille, Olympia, Spallanzani, Chorus).
331:
1998:
Downes, Edward. 'The Tales of Hoffmann' (i) The Origianl Version. Opera, October 1954, Vol.5, No.10, p.589-593
1145:
32. Barcarolle: "Messieurs, silence!... Belle nuit, ĂŽ nuit d'amour" (Hoffmann, Nicklausse, Giulietta, Chorus).
3131:
2307:
2797:
369:
Outside France, the piece was performed in Geneva, Budapest, Hamburg, New York, and Mexico in 1882, Vienna (
227:("Hurry up and stage my opera. I have not much time left, and my only wish is to attend the opening night.")
3121:
2747:
1517:
338:(including the Venice act) was mounted at the Opéra-Comique in 1911, with Léon Beyle in the title role and
2910:
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1461:
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17. ScĂšne: "Ah! Mon ami! Quel accent!" (Hoffmann, Nicklausse, Cochenille, Olympia, Spallanzani, Chorus).
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3199:
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1720:
177:
of the story. It was Offenbach's final work; he died in October 1880, four months before the premiere.
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15. ScĂšne: "Non aucun hĂŽte vraiment" (Hoffmann, Nicklausse, Cochenille, Olympia, Spallanzani, Chorus).
1018:
2. Introduction et Couplets: "Glou! Glou!... La vérité, dit-on, sortait d'un puits" (La Muse, Chorus).
295:, on 18 May 1879, with Madame Franck-Duvernoy in the soprano roles, Auguez as Hoffmann (baritone) and
2990:
2667:
2634:
2501:
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2186:
1484:
as Hoffmann; Erato, Cat: 0630-14330-2. This recording is based on the Kaye-Keck version of the opera.
1452:
1414:
782:
242:
1477:
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and added back cuts made by the composer. The Oeser version was given in full for the first time in
1269:
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1969:
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A four-act version with recitatives was staged at the Ringtheater on 7 December 1881, conducted by
20:
2777:
1221:" in the Venetian act, is the opera's famous number, borrowed by Offenbach from his earlier opera
1336:
1988 (US), followed by France (1993), Germany (1995), UK (1998), China (2005) and Russia (2011).
1290:
1163:
38. RĂ©citatif et Romance: "Ton ami dit vrai!... Ă Dieu, de quelle ivresse" (Hoffmann, Giulietta).
737:
202:
After returning from America in 1876, Offenbach learned that Barbier had adapted the play, which
2677:
2162:
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42. ChĆur: "Folie! Oublie tes douleurs!" (Luther, NathanaĂ«l, Hermann, Wilhelm, Wolfram, Chorus).
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431:
2078:
2071:
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30. Final: "Mon enfant, ma fille! Antonia!" (Crespel, Antonia, Hoffmann, Nicklausse, Miracle).
3111:
2837:
2416:
752:" â In the languid lovers' roles), the first of the opera's incarnations of evil, Hoffmann's
291:, without the third (Venice) act. It was presented in an abridged form at Offenbach's house,
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of music he did not sketch or compose. The version performed at the opera's premiere was by
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987:â "O God! of what intoxication" once more, ending with "Muse, whom I love, I am yours!" â "
346:, receiving 700 performances. Following a recording by Opéra-Comique forces in March 1948,
315:, was also present. Both men requested the rights, but Offenbach granted them to Carvalho.
248:"Rath Krespel" ("Councillor Krespel", also known in English as "The Cremona Violin") 1818.
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2143:: libretto of a modified version (as first performed in the USA) in French and English
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19:
This article is about Offenbach's opera. For the 1916 silent German film, see
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28. Quatuor: "Pour conjurer le danger" (Hoffmann, Crespel, Miracle, Antonia).
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1868:(in French) (19th ed.). Paris: Georges Charpentier et EugĂšne Fasquelle.
1786:
1684:
1647:
1077:
18. Récitatif et Romance: "Ils se sont éloignés enfin!" (Hoffmann, Olympia).
307:. Besides Léon Carvalho, director of the Opéra-Comique, the director of the
3213:
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2807:
1410:
741:
343:
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13. ScĂšne et Couplets: "Pardieu! J'Ă©tais bien sur" (Nicklausse, Hoffmann).
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66:
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2717:
1985:
Michael Kaye. The true 'Hoffmann' - Michael Kaye introduces his edition.
1511:
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930:" â "Beautiful night, oh night of love". Hoffmann falls in love with the
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732:. She takes the appearance of Hoffmann's closest friend, Nicklausse. The
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308:
174:
152:
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1441:
1207:" (Song of little Zaches) in the prologue is based on the short story "
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2134:
1521:(1951), a British film adaptation written, produced, and directed by
1110:
24. RĂ©citatif: "Enfin je vais avoir pourquoi" (Hoffmann, Nicklausse).
931:
793:
721:
2320:
1365:
The opera is frequently recorded. Well-regarded recordings include:
2025:. Vox musicae series, no. 5. Hillsdale, New York: Pendragon Press.
1065:
14. Trio: "C'est moi, Coppélius" (Coppélius, Hoffmann, Nicklausse).
760:
581:
162:
1466:; Deutsche Grammophon label Cat: 427682; with PlĂĄcido Domingo and
1021:
3. RĂ©citatif: "Le conseiller Lindorf, morbleu!" (Lindorf, AndrĂšs).
2687:
1444:; EMI, Cat: 358613â2, studio recording based on the Oeser version
529:
1125:
29. Trio: "Tu ne chanteras plus?" (Miracle, Antonia, Le FantĂŽme)
1113:
25. Air du Violon: "Vois sous l'archet frémissant" (Nicklausse).
2397:
1697:"Der Sandmann" provided the impetus for the ballet libretto of
1166:
39. Duo de Reflet: "Jusque-lĂ cependant" (Hoffmann, Giulietta).
1154:
35. Chanson du Diamant: "Tourne, tourne, miroir" (Dappertutto).
1071:
16. Chanson: "Les oiseaux dans la charmille" (Olympia, Chorus).
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859:
1024:
4. Couplets: "Dans les rĂŽles d'amoureux langoureux" (Lindorf).
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2359:
951:
Meanwhile, Hoffmann meets Giulietta, and cannot resist her ("
789:
426:
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created the first post-war production in Paris, conducted by
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conducting. This production remained in the repertoire until
52:
3208:
996:
Adieu, je ne vais pas vous suivre, fantÎme, spectre du passé
1967:
Antonio de Almeida. 'Hoffmann' - The Original (?) Version.
1347:, while the Giulietta act is in Offenbach family archives.
818:
725:
1059:
12. RĂ©citatif: "Allons! Courage et confiance!" (Hoffmann).
1510:(1923), an Austrian silent film directed by and starring
1192:
44. Couplet: "Pour le cĆur de PhrygnĂ©" (Hoffmann, Chorus)
1119:
27. Duo: "C'est une chanson d'amour" (Hoffmann, Antonia).
1116:
26. ScĂšne: "Ah! J'ai le savais bien" (Hoffmann, Antonia).
1080:
19. Duo: "Tu me fuis?" (Hoffmann, Nicklausse, Coppélius).
1563:, to Offenbach's works, mostly from the latter's opera.
334:, when it received 20 performances. A new production by
283:
The opera was first performed in a public venue at the
3197:
1624:
Orpheus in Paris: Offenbach and the Paris of his time
1278:", based on a theme from the overture to Offenbach's
2155:, Chap. 13: "The Odd Couple: Offenbach and Hoffmann"
1499:(1916), a silent German film adaptation directed by
1104:
22. RĂȘverie: "Elle a fui, la tourterelle" (Antonia).
981:" The magic of poetry reaches Hoffmann as he sings "
978:
RenaĂźtra un poĂšte! Je t'aime, Hoffmann! Sois Ă moi!
946:" â "Sparkle, diamond"). The jealous Schlemil (cf.
934:
Giulietta, and thinks she returns his affections ("
358:first staged the work in October 1974, directed by
2070:
1947:, Macmillan, London and New York, 1997, p.923-925.
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1621:
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1272:with new words by Barbier's son Pierre. The air "
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1738:, vol. 1, 1885, translated by John Thomas Bealby
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1872:
777:The Olympia act, as staged at the 1881 premiĂšre
3122:Le barbier de Séville ou La précaution inutile
1921:
1862:NoĂ«l, Ădouard; Stoullig, Edmond, eds. (1893).
1654:
1440:, Brussels Opéra National du Théùtre Royal de
799:Allons! Courage et confiance...Ah! vivre deux!
2459:Tromb-al-ca-zar, ou Les criminels dramatiques
2336:
2202:
2053:Coulisses: Pluie d'autographes. News item in
1543:(1970), a German film adaptation directed by
817:Olympia sings one of the opera's most famous
326:at the theatre after the second performance.
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1979:
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716:Prologue (or epilogue), in the 1881 premiĂšre
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50:
37:
2177:Reviews of current and past productions of
1973:, December 1980, Vol.31 No.12, p.1169-1172.
1831:
1829:
1827:
1825:
1823:
1821:
3275:Opera world premieres at the Opéra-Comique
3230:Operas based on works by E. T. A. Hoffmann
3164:
3150:
2343:
2329:
2209:
2195:
1775:Un demi-siĂšcle d'OpĂ©ra-Comique (1900â1950)
385:Costume design for Hoffmann in act 1, 1903
332:Salle de la Renaissance du Théùtre-Lyrique
65:
3132:La folle journée, ou Le mariage de Figaro
2126:International Music Score Library Project
1976:
1779:A half-century of comic opera (1900â1950)
3290:Works based on The Sandman (short story)
1963:
1961:
1959:
1957:
1955:
1953:
1818:
1616:
1238:
890:
874:" â "Day and night, I quarter my mind."
840:
772:
711:
380:
273:
2068:
2017:
1989:, Vol.49 No.2, February 1998, p155-164.
1865:Les Annales du Théùtre et de la Musique
1781:] (in French). Paris: André Bonne.
1768:
1766:
1764:
1762:
792:: Hoffmann's first love is Olympia, an
3222:
1671:(1986) . "The Man who wrote Hoffman".
1667:
1590:
1107:23. Couplets: "Jour et nuit" (Frantz).
303:at the piano and a chorus directed by
269:
2658:Croquefer, ou Le dernier des paladins
2350:
2324:
2190:
2073:The Illustrated Encyclopedia of Opera
1950:
1772:
1756:Macmillan, London and New York, 1997.
1327:in 1983 and recorded by EMI in 1988.
543:a mechanical or an animatronical doll
2077:. New York: Crescent Books. p.
1759:
1719:by E. T. A. Hoffmann, translated by
886:
749:Dans les rĂŽles d'amoureux langoureux
2698:M. Choufleuri restera chez lui le âŠ
1811:. L'Almanacco di Gherardo Casaglia
781:This act is based on a portion of "
13:
2615:Vent du soir, ou L'horrible festin
1566:
1002:
836:
768:
231:The stories in the opera include:
188:Les contes fantastiques d'Hoffmann
169:, based on three short stories by
14:
3301:
2113:
1944:The New Grove Dictionary of Opera
1753:The New Grove Dictionary of Opera
1628:. Translated by Gwenda David and
1369:a 1964â65 recording conducted by
1361:The Tales of Hoffmann discography
1157:36. MĂ©lodrame (Musique-de-scĂšne).
1151:34. MĂ©lodrame (Musique-de-scĂšne).
903:Die Abenteuer der Silvester-Nacht
871:Jour et nuit je me mets en quatre
324:a gas explosion and fire occurred
259:Die Abenteuer der Sylvester-Nacht
29:The Tales of Hoffmann (1951 film)
25:The Tales of Hoffmann (1923 film)
3207:
3180:
3179:
3163:
3149:
3088:(conversation alsacienne) (1863)
2758:La Grande-Duchesse de GĂ©rolstein
2522:La chatte métamorphosée en femme
2384:
1673:Offenbach: Les Contes d'Hoffmann
1345:BibliothĂšque nationale de France
299:in the four villain roles, with
263:The Adventures of New Year's Eve
2095:
2062:
2047:
2011:
2001:
1992:
1898:
1855:
990:Muse que j'aime, je suis Ă toi!
257:" ("The Lost Reflection") from
181:Composition history and sources
1941:"Contes d'Hoffmann, Les". In:
1793:
1741:
1725:
1710:
1691:
1610:
1584:
1476:, Chorus and Orchestra of the
1389:Orchestre de la Suisse Romande
1215:Little Zaches, called cinnabar
1210:Klein Zaches, genannt Zinnober
937:Amis, l'amour tendre et rĂȘveur
759:Il Ă©tait une fois Ă la cour d'
71:Scenes from the Paris premiere
1:
3078:(chinoiserie musicale) (1855)
2308:Klein Zaches genannt Zinnober
1577:
1375:Paris Conservatoire Orchestra
1354:
899:This act is loosely-based on
845:Antonia and Dr. Miracle, 1881
824:Les oiseaux dans la charmille
1838:. "GenĂšse et LĂ©gendes." In:
7:
3235:Operas by Jacques Offenbach
2911:La permission de dix heures
2595:Le financier et le savetier
2059:No. 645, April 2016, p. 12.
1893:235, Les Contes d'Hoffmann.
1881:"L'Ćuvre Ă l'affiche." In:
1850:235, Les Contes d'Hoffmann.
1472:a 1996 studio recording by
1234:
1217:"), 1819. The barcarolle, "
969:
805:Une poupée aux yeux d'émail
707:
702:
10:
3306:
3280:Operas based on literature
3265:Operas completed by others
2798:La princesse de Trébizonde
2282:Belle nuit, ĂŽ nuit d'amour
1916:235, Les Contes d'Hoffmann
1799:Casaglia, Gherardo (2005).
1358:
1331:performed on stage at the
1219:Belle nuit, ĂŽ nuit d'amour
926:Belle nuit, ĂŽ nuit d'amour
909:A New Year's Eve Adventure
865:Elle a fui, la tourterelle
830:Voyez-la sous son Ă©ventail
567:Voice of Antonia's mother
112:10 February 1881
18:
16:Opera by Jacques Offenbach
3285:Operas adapted into films
3245:Libretti by Jules Barbier
3143:
3100:
3068:(légende bretonne) (1855)
3055:
3012:
2991:La fille du tambour-major
2849:
2646:
2635:Apothicaire et perruquier
2583:
2502:Une demoiselle en loterie
2470:
2439:
2432:
2396:
2358:
2291:
2265:
2230:
1750:"Jacques Offenbach". In:
1453:French National Orchestra
1415:London Symphony Orchestra
1274:
1209:
1203:
995:
989:
984:O Dieu! de quelle ivresse
983:
977:
954:O Dieu! de quelle ivresse
953:
942:
936:
924:
918:. The act opens with the
880:C'est une chanson d'amour
879:
870:
864:
851:
829:
823:
810:
804:
798:
758:
748:
691:
533:
528:
498:
495:
468:
463:
440:
293:8 Boulevard des Capucines
254:Das verlorene Spiegelbild
253:
237:
221:
191:, written by Barbier and
107:
94:
86:
76:
64:
49:
36:
27:. For the 1951 film, see
23:. For the 1923 film, see
3250:Libretti by Michel Carré
2891:Monsieur et Madame Denis
2512:Le mariage aux lanternes
2163:"Tales of Hoffman"
2160:Lewis M. Isaacs (1920).
1904:Voice types as given in
1773:Wolff, Stéphane (1953).
1632:. New York: Zone Books.
1559:choreographed a ballet,
1551:
376:
320:Joseph Hellmesberger Jr.
21:Tales of Hoffmann (film)
2069:Gammond, Peter (1986).
1675:(Liner notes). London:
1488:
1291:Carl Rosa Opera Company
914:A gallery in a palace,
788:Parlor of a scientist,
3240:French-language operas
3034:Le voyage dans la lune
2881:La chanson de Fortunio
2482:La rose de Saint-Flour
2169:Encyclopedia Americana
2018:Dibbern, Mary (2002).
1478:Opéra National de Lyon
1304:, used in editions by
1248:
902:
896:
849:This act is based on "
846:
778:
717:
625:in love with Giulietta
470:Ămile-Alexandre Taskin
432:Jean-Alexandre Talazac
386:
297:Ămile-Alexandre Taskin
280:
229:
187:
185:Offenbach saw a play,
150:
143:
51:
38:
2440:Bouffonnerie musicale
2380:The Tales of Hoffmann
2274:The Tales of Hoffmann
2255:The Tales of Hoffmann
2247:The Tales of Hoffmann
2223:The Tales of Hoffmann
2179:The Tales of Hoffmann
2135:Les contes d'Hoffmann
2121:Les contes d'Hoffmann
2023:: A Performance Guide
2021:The Tales of Hoffmann
1836:Keck, Jean-Christophe
1803:Les contes d'Hoffmann
1703:(1870) with music by
1533:Hoffmanns ErzÀhlungen
1518:The Tales of Hoffmann
1507:The Tales of Hoffmann
1496:Hoffmanns ErzÀhlungen
1281:A Journey to the Moon
1242:
894:
844:
776:
715:
384:
277:
217:
144:Les contes d'Hoffmann
137:The Tales of Hoffmann
44:The Tales of Hoffmann
39:Les contes d'Hoffmann
3155:List of compositions
3112:Le malade imaginaire
3085:Lischen et Fritzchen
2678:GeneviĂšve de Brabant
2625:Mesdames de la Halle
2572:Pierrette et Jacquot
2149:The Tales of Hoffman
1918:. Paris, 2006, p. 5.
1732:"The Cremona Violin"
1717:"Councillor Krespel"
1447:a 1986 recording by
1436:a 1988 recording by
1409:a 1972 recording by
1383:a 1971 recording by
1315:Jean-Christophe Keck
1204:Chanson de Kleinzach
195:and produced at the
2951:La jolie parfumeuse
2708:Le pont des soupirs
2103:"Tales of Hoffmann"
1907:L'Avant-scÚne opéra
1884:L'Avant-scÚne opéra
1841:L'Avant-scÚne opéra
1618:Kracauer, Siegfried
1547:and Georg F. Mielke
1401:Huguette Tourangeau
736:Stella, performing
371:Theater an der Wien
366:in the title role.
270:Performance history
98:three short stories
2778:L'Ăźle de Tulipatan
2532:Un mari Ă la porte
2183:(mainly in German)
1598:. London: Putnam.
1545:Walter Felsenstein
1527:Emeric Pressburger
1457:Radio France Choir
1438:Sylvain Cambreling
1302:Antonio de Almeida
1275:Scintille, diamant
1249:
943:Scintille, diamant
897:
895:Giuletta act, 1881
847:
814:" â I have eyes).
779:
718:
617:Hippolyte Belhomme
446:Zoé Molé-Truffier
387:
281:
199:in Paris in 1851.
3260:Unfinished operas
3195:
3194:
3169:List of operettas
3096:
3095:
2818:Madame l'archiduc
2768:Le chĂąteau Ă Toto
2748:La vie parisienne
2718:Bavard et bavarde
2668:Orphée aux enfers
2605:La bonne d'enfant
2552:Il signor Fagotto
2449:Les deux aveugles
2433:Other stage works
2352:Jacques Offenbach
2318:
2317:
2239:Tales of Hoffmann
2218:Jacques Offenbach
2140:Project Gutenberg
1596:More Opera Nights
1561:Tales of Hoffmann
1333:Los Angeles Opera
1245:E. T. A. Hoffmann
887:Act 3 (Giulietta)
858:Crespel's house,
698:
697:
455:Marguerite Ugalde
171:E. T. A. Hoffmann
159:Jacques Offenbach
133:
132:
102:E. T. A. Hoffmann
59:Jacques Offenbach
53:Opéra fantastique
3297:
3212:
3211:
3203:
3188:
3183:
3182:
3172:
3167:
3166:
3158:
3153:
3152:
3136:
3126:
3116:
3102:Incidental music
3089:
3079:
3069:
3048:
3038:
3028:
3005:
2995:
2985:
2975:
2965:
2955:
2945:
2935:
2925:
2915:
2905:
2895:
2885:
2875:
2865:
2842:
2838:MaĂźtre PĂ©ronilla
2832:
2822:
2812:
2802:
2792:
2782:
2772:
2762:
2752:
2742:
2732:
2722:
2712:
2702:
2692:
2682:
2672:
2662:
2639:
2629:
2619:
2609:
2599:
2576:
2566:
2556:
2546:
2542:Daphnis et Chloé
2536:
2526:
2516:
2506:
2496:
2486:
2463:
2453:
2437:
2436:
2425:
2422:Manuel Rosenthal
2417:Gaßté Parisienne
2411:
2389:
2388:
2374:
2345:
2338:
2331:
2322:
2321:
2211:
2204:
2197:
2188:
2187:
2173:
2165:
2153:The Ultimate Art
2142:
2124:: Scores at the
2107:
2106:
2099:
2093:
2092:
2076:
2066:
2060:
2051:
2045:
2044:
2015:
2009:
2005:
1999:
1996:
1990:
1983:
1974:
1965:
1948:
1936:
1919:
1915:
1902:
1896:
1892:
1879:
1870:
1869:
1859:
1853:
1849:
1833:
1816:
1814:
1809:7 December 1881"
1808:
1797:
1791:
1790:
1770:
1757:
1745:
1739:
1729:
1723:
1714:
1708:
1695:
1689:
1688:
1665:
1652:
1651:
1627:
1614:
1608:
1607:
1588:
1541:
1465:
1405:Gabriel Bacquier
1277:
1276:
1243:Oil painting of
1229:Les fées du Rhin
1212:
1211:
1206:
1205:
1176:Epilogue: Stella
1135:Act 3: Giulietta
998:
997:
992:
991:
986:
985:
980:
979:
956:
955:
945:
944:
939:
938:
929:
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831:
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807:
806:
801:
800:
764:
763:
751:
750:
693:Students, Guests
623:Peter Schlémil,
609:Antonia's father
402:10 February 1881
389:
388:
313:Franz von Jauner
305:Albert Vizentini
256:
255:
240:
239:
224:
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190:
156:
146:
127:
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117:
69:
56:
41:
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3206:
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3129:
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3109:
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3072:
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3051:
3041:
3031:
3021:
3008:
2998:
2988:
2978:
2968:
2958:
2948:
2938:
2928:
2921:Robinson Crusoé
2918:
2908:
2898:
2888:
2878:
2868:
2858:
2845:
2835:
2825:
2815:
2805:
2795:
2785:
2775:
2765:
2755:
2745:
2735:
2728:La belle HĂ©lĂšne
2725:
2715:
2705:
2695:
2685:
2675:
2665:
2655:
2642:
2632:
2622:
2612:
2602:
2592:
2585:Opérette bouffe
2579:
2569:
2559:
2549:
2539:
2529:
2519:
2509:
2499:
2489:
2479:
2466:
2456:
2446:
2428:
2414:
2405:
2392:
2377:
2367:
2354:
2349:
2319:
2314:
2287:
2261:
2226:
2215:
2132:
2116:
2111:
2110:
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2100:
2096:
2089:
2067:
2063:
2052:
2048:
2033:
2016:
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1966:
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1721:Alexander Ewing
1715:
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1696:
1692:
1669:Weaver, William
1666:
1655:
1640:
1615:
1611:
1589:
1585:
1580:
1569:
1567:Further reading
1554:
1535:
1491:
1468:Edita GruberovĂĄ
1459:
1397:Joan Sutherland
1393:PlĂĄcido Domingo
1385:Richard Bonynge
1363:
1357:
1295:Richard Bonynge
1266:Raoul Gunsbourg
1237:
1199:
1198:
1173:
1172:
1132:
1131:
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1086:
1046:
1045:
1005:
1003:Musical numbers
972:
963:Richard Bonynge
948:Peter Schlemihl
889:
839:
837:Act 2 (Antonia)
771:
769:Act 1 (Olympia)
710:
705:
403:
401:
379:
360:Patrice Chéreau
301:Edmond Duvernoy
287:on 10 February
272:
226:
183:
165:was written by
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3175:
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3141:
3140:
3138:
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3127:
3117:
3106:
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3098:
3097:
3094:
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3091:
3090:
3080:
3070:
3059:
3057:
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3050:
3049:
3039:
3029:
3024:Le roi Carotte
3018:
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2986:
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2370:Die Rheinnixen
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2114:External links
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1592:Newman, Ernest
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1482:Roberto Alagna
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1431:Susanne Marsee
1427:Norman Treigle
1419:Stuart Burrows
1407:
1381:
1371:André Cluytens
1359:Main article:
1356:
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1341:Lausanne Opera
1320:Die Rheinnixen
1254:Ernest Guiraud
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554:
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546:
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516:Pitichinaccio
513:
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458:
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452:
448:
447:
444:
439:
435:
434:
429:
424:
414:
413:
400:Premiere cast,
398:
393:
378:
375:
352:André Cluytens
271:
268:
267:
266:
249:
246:
204:Hector Salomon
182:
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15:
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3015:
3011:
3003:
3002:
3001:Belle Lurette
2997:
2993:
2992:
2987:
2983:
2982:
2981:Madame Favart
2977:
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2863:
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2857:
2856:
2854:
2852:
2851:Opéra comique
2848:
2840:
2839:
2834:
2830:
2829:
2828:Le docteur Ox
2824:
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2098:
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2088:0-517-53840-7
2084:
2080:
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2065:
2058:
2057:
2050:
2042:
2038:
2034:
2032:9781576470336
2028:
2024:
2020:
2014:
2004:
1995:
1988:
1982:
1980:
1972:
1971:
1964:
1962:
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1677:Decca Records
1674:
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1649:
1645:
1641:
1639:1-890951-30-7
1635:
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1613:
1605:
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1597:
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1564:
1562:
1558:
1557:Peter Darrell
1546:
1542:
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1458:
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1428:
1424:
1423:Beverly Sills
1420:
1416:
1412:
1408:
1406:
1402:
1398:
1394:
1390:
1386:
1382:
1380:
1379:Nicolai Gedda
1376:
1372:
1368:
1367:
1366:
1362:
1352:
1348:
1346:
1342:
1337:
1334:
1328:
1326:
1322:
1321:
1316:
1311:
1307:
1303:
1298:
1296:
1292:
1288:
1287:bass-baritone
1283:
1282:
1271:
1267:
1262:
1259:
1255:
1246:
1241:
1232:
1230:
1226:
1225:
1220:
1216:
1194:
1191:
1188:
1185:
1183:41. Entracte.
1182:
1181:
1178:
1177:
1168:
1165:
1162:
1159:
1156:
1153:
1150:
1147:
1144:
1142:31. Entracte.
1141:
1140:
1137:
1136:
1127:
1124:
1121:
1118:
1115:
1112:
1109:
1106:
1103:
1101:21. Entracte.
1100:
1099:
1096:
1095:
1091:
1082:
1079:
1076:
1073:
1070:
1067:
1064:
1061:
1058:
1056:11. Entracte.
1055:
1054:
1051:
1050:
1041:
1038:
1035:
1032:
1029:
1026:
1023:
1020:
1017:
1014:
1013:
1010:
1009:
1000:
967:
966:
964:
958:
949:
933:
927:
921:
917:
912:
910:
906:
904:
893:
884:
875:
861:
856:
843:
834:
820:
815:
811:J'ai des yeux
795:
791:
786:
784:
775:
766:
762:
755:
745:
743:
739:
735:
731:
727:
723:
714:
700:
694:
690:
686:
683:
681:
677:
676:
672:
669:
667:
663:
662:
658:
655:
653:
649:
648:
645:ChenneviĂšres
644:
641:
639:
635:
634:
631:
628:
626:
622:
621:
618:
615:
612:
610:
606:
605:
601:
598:
596:
592:
591:
588:
585:
583:
580:
577:
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572:
569:
566:
565:
562:
560:
556:
555:
552:
548:
547:
544:
540:
539:
536:
531:
526:
522:
521:
518:
515:
514:
510:
509:
505:
504:
501:
500:Pierre Grivot
492:
491:
488:
485:
484:
480:
479:
475:
474:
471:
466:
465:bass-baritone
460:
459:
456:
453:
450:
449:
445:
443:
442:mezzo-soprano
437:
436:
433:
430:
428:
425:
423:
419:
416:
415:
411:
407:
399:
397:
394:
391:
390:
383:
374:
372:
367:
365:
364:Nicolai Gedda
361:
357:
353:
349:
345:
341:
337:
333:
327:
325:
321:
316:
314:
310:
306:
302:
298:
294:
290:
286:
285:Opéra-Comique
276:
264:
260:
250:
247:
244:
234:
233:
232:
228:
216:
214:
213:LĂ©on Carvalho
208:
205:
200:
198:
197:Odéon Theatre
194:
189:
178:
176:
173:, who is the
172:
168:
167:Jules Barbier
164:
161:. The French
160:
155:
154:
147:
145:
139:
138:
125:
124:Opéra-Comique
110:
106:
103:
97:
93:
89:
85:
82:
81:Jules Barbier
79:
75:
68:
63:
60:
55:
54:
48:
45:
40:
35:
30:
26:
22:
3185:Compositions
3178:
3162:
3148:
3130:
3120:
3110:
3083:
3073:
3065:Le violoneux
3063:
3042:
3032:
3022:
3014:Opéra féerie
2999:
2989:
2979:
2969:
2959:
2949:
2939:
2929:
2919:
2909:
2899:
2889:
2879:
2869:
2859:
2836:
2826:
2816:
2808:Les brigands
2806:
2796:
2788:La PĂ©richole
2786:
2776:
2766:
2756:
2751:(1866, 1873)
2746:
2736:
2726:
2716:
2706:
2696:
2686:
2676:
2666:
2656:
2648:Opéra bouffe
2633:
2623:
2613:
2603:
2593:
2570:
2560:
2550:
2540:
2530:
2520:
2510:
2500:
2490:
2480:
2457:
2447:
2415:
2406:
2379:
2378:
2368:
2306:
2300:Der Sandmann
2298:
2273:
2253:
2245:
2237:
2222:
2221:
2178:
2167:
2152:
2148:
2147:Analysis of
2133:
2120:
2097:
2072:
2064:
2054:
2049:
2022:
2019:
2013:
2003:
1994:
1986:
1968:
1942:
1939:Lamb, Andrew
1905:
1900:
1895:Paris, 2006.
1882:
1863:
1857:
1852:Paris, 2006.
1839:
1813:(in Italian)
1802:
1795:
1778:
1774:
1751:
1748:Lamb, Andrew
1743:
1735:
1727:
1712:
1698:
1693:
1672:
1623:
1612:
1595:
1586:
1560:
1555:
1531:
1516:
1505:
1494:
1411:Julius Rudel
1364:
1349:
1338:
1329:
1318:
1299:
1279:
1263:
1250:
1228:
1222:
1200:
1175:
1174:
1134:
1133:
1093:
1089:
1088:
1048:
1047:
1007:
1006:
973:
960:
959:
913:
908:
900:
898:
876:
857:
852:Rath Krespel
848:
816:
787:
783:Der Sandmann
780:
742:Don Giovanni
740:
729:
720:A tavern in
719:
699:
692:
679:
665:
651:
637:
624:
608:
594:
593:Spalanzani,
587:Ătienne Troy
558:
551:a young girl
550:
542:
524:
421:
368:
344:World War II
340:Albert Wolff
336:Albert Carré
328:
317:
282:
262:
258:
238:Der Sandmann
230:
218:
209:
201:
193:Michel Carré
184:
141:
136:
135:
134:
43:
3255:1881 operas
3056:Other types
3044:Whittington
2901:Les bergers
2738:Barbe-bleue
2562:Pomme d'api
2408:Le papillon
2276:discography
1910: [
1887: [
1844: [
1736:Weird Tales
1705:LĂ©o Delibes
1536: [
1512:Max Neufeld
1474:Kent Nagano
1460: [
1449:Seiji Ozawa
1310:Saint-Mandé
1306:Fritz Oeser
1270:André Bloch
1247:(1776â1822)
1015:1. Prélude.
734:prima donna
636:Nathanaël,
602:E. Gourdon
595:an inventor
559:a courtesan
557:Giulietta,
535:AdĂšle Isaac
506:Cochenille
486:Dapertutto
451:Nicklausse
410:Jules Danbé
356:Paris Opera
322:, although
311:in Vienna,
309:Ringtheater
243:The Sandman
175:protagonist
153:fantastique
3224:Categories
3075:Ba-ta-clan
2420:(arranged
2181:since 2007
1578:References
1442:la Monnaie
1355:Recordings
1224:Rheinnixen
1201:The aria "
920:barcarolle
687:Piccaluga
476:Coppélius
396:Voice type
348:Louis Musy
116:1881-02-10
77:Librettist
2971:La créole
2961:Bagatelle
2931:Vert-Vert
1620:(2002) .
1413:with the
1387:with the
1373:with the
1293:in 1952.
1227:(French:
932:courtesan
794:automaton
722:Nuremberg
680:a student
678:Wolfram,
666:a student
664:Wilhelm,
656:baritone
652:a student
650:Hermann,
638:a student
629:baritone
613:baritone
549:Antonia,
541:Olympia,
438:The muse
406:Conductor
245:"), 1816.
140:(French:
3115:(1851/2)
2941:Fantasio
2861:L'alcĂŽve
2472:Opérette
2056:Diapason
2041:45223614
1787:44733987
1700:Coppélia
1685:15275271
1648:48098585
1594:(1954).
1258:Choudens
1235:Editions
1008:Prologue
970:Epilogue
761:Eisenach
738:Mozart's
708:Prologue
703:Synopsis
607:Crespel,
582:baritone
525:a singer
523:Stella,
481:Miracle
461:Lindorf
418:Hoffmann
279:Talazac.
265:), 1814.
163:libretto
148:) is an
108:Premiere
95:Based on
87:Language
2688:Barkouf
2398:Ballets
2383:(1881)
2292:Sources
1094:Antonia
754:nemesis
673:Collin
578:Luther
573:Dupuis
530:soprano
511:Frantz
493:AndrĂšs
126:, Paris
114: (
3270:Operas
3200:Portal
3135:(1852)
3125:(1852)
3047:(1874)
3037:(1875)
3027:(1872)
3004:(1880)
2994:(1879)
2984:(1878)
2974:(1875)
2964:(1874)
2954:(1873)
2944:(1872)
2934:(1869)
2924:(1867)
2914:(1867)
2904:(1865)
2894:(1862)
2884:(1861)
2874:(1853)
2871:PĂ©pito
2864:(1847)
2841:(1878)
2831:(1877)
2821:(1874)
2811:(1869)
2801:(1869)
2791:(1868)
2781:(1868)
2771:(1868)
2761:(1867)
2741:(1866)
2731:(1864)
2721:(1862)
2711:(1861)
2701:(1861)
2691:(1860)
2681:(1859)
2671:(1858)
2661:(1857)
2638:(1861)
2628:(1858)
2618:(1861)
2608:(1856)
2598:(1856)
2575:(1876)
2565:(1873)
2555:(1863)
2545:(1860)
2535:(1859)
2525:(1858)
2515:(1857)
2505:(1857)
2495:(1856)
2485:(1856)
2462:(1856)
2452:(1855)
2373:(1864)
2360:Operas
2311:(1819)
2303:(1816)
2258:(1951)
2250:(1923)
2242:(1916)
2085:
2039:
2029:
1807:
1785:
1683:
1646:
1636:
1604:920909
1602:
1429:, and
916:Venice
860:Munich
730:poetry
724:: The
684:tenor
659:Teste
642:tenor
599:tenor
496:tenor
422:a poet
354:. The
151:opéra
90:French
3214:Opera
2492:Le 66
2266:Music
2231:Films
2008:2013.
1987:Opera
1970:Opera
1914:]
1891:]
1848:]
1777:[
1552:Dance
1540:]
1464:]
1325:Reims
1090:Act 2
819:arias
790:Paris
427:tenor
392:Role
377:Roles
362:with
2083:ISBN
2037:OCLC
2027:ISBN
1783:OCLC
1681:OCLC
1644:OCLC
1634:ISBN
1600:OCLC
1525:and
1489:Film
1480:and
1403:and
1377:and
1268:and
1213:" ("
726:Muse
289:1881
241:" ("
2220:'s
2151:in
2138:at
2079:143
1734:in
1231:).
911:).
855:".
821:, "
785:".
157:by
100:by
57:by
3226::
2166:.
2081:.
2035:.
1978:^
1952:^
1923:^
1912:fr
1889:fr
1874:^
1846:fr
1820:^
1761:^
1679:.
1656:^
1642:.
1538:de
1462:fr
1455:,
1451:,
1425:,
1421:,
1417:,
1399:,
1395:,
1391:,
1092::
420:,
412:)
408::
215::
3202::
2424:)
2344:e
2337:t
2330:v
2284:"
2280:"
2210:e
2203:t
2196:v
2172:.
2105:.
2091:.
2043:.
1815:.
1805:,
1801:"
1789:.
1707:.
1687:.
1650:.
1606:.
1433:.
922:"
907:(
744:,
404:(
261:(
251:"
235:"
225:"
219:"
118:)
31:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
