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Quiz about Les Contes dHoffman
Quiz about Les Contes dHoffman

Les Contes d'Hoffman Trivia Quiz


A quiz on Offenbach's best known serious opera and one of the most fascinating works in the standard operatic repertoire. Good Luck!

A multiple-choice quiz by jouen58. Estimated time: 6 mins.
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Author
jouen58
Time
6 mins
Type
Multiple Choice
Quiz #
124,740
Updated
Dec 03 21
# Qns
25
Difficulty
Average
Avg Score
17 / 25
Plays
326
- -
Question 1 of 25
1. "Les Contes D'Hoffman" was an operatic version of an existing work. What kind of work was it? Hint


Question 2 of 25
2. Who was the librettist for "Hoffman"? Hint


Question 3 of 25
3. Which of the following is NOT true? Hint


Question 4 of 25
4. Which term best describes the way the story of "Hoffman" unfolds? Hint


Question 5 of 25
5. The opera opens with a prologue in Luther's tavern, next door to an opera house in which the diva Stella, Hoffman's current innamorata, is performing. Which opera is she appearing in? Hint


Question 6 of 25
6. Hoffman appears with his sidekick Nicklausse and, at the students' request, begins singing a song about a character named Kleinzach. What type of creature is Kleinzach? Hint


Question 7 of 25
7. The next act relates Hoffman's ill-fated love affair with Olympia, a mechanical doll created by a the scientist Spalanzani. How does Hoffman know Spalanzani? Hint


Question 8 of 25
8. Hoffman meets the first of his nemeses, Spalanzani's partner (and rival) Coppelius. What does Coppelius sell Hoffman, which causes him to believe that Olympia is real? Hint


Question 9 of 25
9. What part of Olympia's body was provided by Coppelius? Hint


Question 10 of 25
10. What handicap does Cochenille, Spalanzani's assistant, struggle with? Hint


Question 11 of 25
11. Why does Coppelius destroy Olympia? Hint


Question 12 of 25
12. The famous "Barcarolle" ("Belle nuit, o nuit d'amour") which opens Act III had been used in a previous opera by Offenbach.


Question 13 of 25
13. Hoffman expresses total indifference toward Giulietta at the beginning of Act III.


Question 14 of 25
14. Besides surrendering his soul to Giulietta (and, thus, to Dapertutto), what other grave act does Hoffman commit in this act? Hint


Question 15 of 25
15. What does Hoffman receive from Giulietta in return for his "reflection"? Hint


Question 16 of 25
16. As originally performed, the Venice (Giulietta) act came after the Munich (Antonia) act.


Question 17 of 25
17. Two pieces from this act (as it is usually performed) were not in the score as originally written by Offenbach- Dapertutto's "Scintille, diamant" and the closing septet.


Question 18 of 25
18. Act IV takes place in Munich at the home of Crespel, father of Hoffman's third innamorata, Antonia. According to the libretto, how is the room furnished? Hint


Question 19 of 25
19. The scene open's with Antonia's aria "Elle a fui, la tourterelle" ("She has flown away, the turtle-dove"). What is especially notable about this aria? Hint


Question 20 of 25
20. Crespel's servant, Frantz, is a comic-relief character who, like Cochenille in Act II, suffers from a handicap. What is Frantz's physical handicap, which drives Crespel to distraction? Hint


Question 21 of 25
21. Why does Crespel desperately try to keep Hoffman and Antonia apart? Hint


Question 22 of 25
22. Besides Hoffman, Crespel is also desperate to keep his daughter away from the sinister Doctor Miracle. Why does Crespel fear Miracle? Hint


Question 23 of 25
23. What piece does Antonia sing a few phrases of as she dies in her father's arms? Hint


Question 24 of 25
24. The orchestration of much of "Hoffman" was completed by the composer Ernest Guiraud. Apart from this, Guiraud is best known for composing recitatives to replace the spoken dialogue in this popular opera. Hint


Question 25 of 25
25. The role of Hoffman was originally intended to have been a baritone role.



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Quiz Answer Key and Fun Facts
1. "Les Contes D'Hoffman" was an operatic version of an existing work. What kind of work was it?

Answer: A play

"Hoffman" was a play adapted from the stories of the famous German author.
2. Who was the librettist for "Hoffman"?

Answer: Jules Barbier

Barbier's libretto was an adaption of the play he had written with Michel Carre.
3. Which of the following is NOT true?

Answer: The three "Hoffman" acts were to be performed separately (like the "Ring" operas)

Although each section of "Hoffman" is a self-contained drama in itself, they were certainly never intended to be performed as separate entities like the "Ring" operas. Offenbach wrote "Hoffman" with greater care than any other of his works, but had not completed the orchestration at the time of his death in 1880; the opera premiered in 1881.
4. Which term best describes the way the story of "Hoffman" unfolds?

Answer: Flashbacks

The opera begins with a prologue in which Hoffman offers to tell a group of students about his past loves; the following three acts all take place in the past. Although the stories that follow are fanciful and unreal (and certainly never actually happened in reality), we are to assume that Hoffman is not simply making them up or relating his dreams.
5. The opera opens with a prologue in Luther's tavern, next door to an opera house in which the diva Stella, Hoffman's current innamorata, is performing. Which opera is she appearing in?

Answer: Mozart's "Don Giovanni"

Stella is appearing in the role of Donna Anna. When Hoffman enters with Nicklausse, the latter jokingly quotes a snatch of Leporello's "Notte e giorno faticar."
6. Hoffman appears with his sidekick Nicklausse and, at the students' request, begins singing a song about a character named Kleinzach. What type of creature is Kleinzach?

Answer: A dwarf

Kleinzach is a misshapen (but not hunchbacked) little dwarf who "lived at the court of Eisenach."
7. The next act relates Hoffman's ill-fated love affair with Olympia, a mechanical doll created by a the scientist Spalanzani. How does Hoffman know Spalanzani?

Answer: He is his student.

Spalanzani is training Hoffman to be a professor of physics.
8. Hoffman meets the first of his nemeses, Spalanzani's partner (and rival) Coppelius. What does Coppelius sell Hoffman, which causes him to believe that Olympia is real?

Answer: Magic glasses

The glasses enable one to see reality as one would like it to be, not the way it is. When Hoffman puts them on, Olympia appears incredibly beautiful and lifelike. (Coppelius refers to the glasses as "mes yeux"-"my eyes", but the libretto specifies that he gives Hoffman "un lorgnon"-"an eyeglass".)
9. What part of Olympia's body was provided by Coppelius?

Answer: Her eyes

Coppelius sells eyes (real and artificial), as well as glasses. He has provided Olympia's eyes, which are made of enamel.
10. What handicap does Cochenille, Spalanzani's assistant, struggle with?

Answer: Stuttering

Cochenille seems to lose his stutter, however, in the act's final ensemble.
11. Why does Coppelius destroy Olympia?

Answer: To avenge himself on Spalanzani, who has cheated him.

Although Coppelius' actions do have the effect of devastating Hoffman, this is (to him) collateral damage; his destruction of Olympia is done to repay Spalanzani for having paid him off with a worthless bank draft.
12. The famous "Barcarolle" ("Belle nuit, o nuit d'amour") which opens Act III had been used in a previous opera by Offenbach.

Answer: True

Offenbach had used the basic melody of the Barcarolle in a full length opera, "Die Rheinnixen" ("The Rhine-Maidens") commissioned by the Vienna Court Opera some 17 years earlier. "Die Rheinnixen", unfortunately, was a resounding failure.
13. Hoffman expresses total indifference toward Giulietta at the beginning of Act III.

Answer: True

Hoffman assures Nicklausse at the opening of this act ridicules the idea that a coutesan, such as Giulietta, could awaken his love. Either he is deceiving himself, or his feelings undergo a radical change afterward.
14. Besides surrendering his soul to Giulietta (and, thus, to Dapertutto), what other grave act does Hoffman commit in this act?

Answer: He kills someone.

Hoffman kills Schlemil, his rival for Giulietta's love, in a duel to which Schlemil challenges him.
15. What does Hoffman receive from Giulietta in return for his "reflection"?

Answer: The key to her room.

Hoffman eventually enters Giulietta's boudoir, only to find it empty. He then hears Giulietta calling to him mockingly as she glides off in a gondola in an embrace with her servent, Pitichinacchio.
16. As originally performed, the Venice (Giulietta) act came after the Munich (Antonia) act.

Answer: True

The Venice act, as originally written, was the least "finished" of the three central acts (it was eventually built up with other music not originally written for the opera). It was felt that placing it in the center of the work, instead of at the climax, would make it's incomplete state less noticeable.
17. Two pieces from this act (as it is usually performed) were not in the score as originally written by Offenbach- Dapertutto's "Scintille, diamant" and the closing septet.

Answer: True

In the original score, Dapertutto sings the aria "Tourne, Tourne miroir." In the early twentieth century, this was reworked as Coppelius' Act II aria "J'ai des yeux". A different aria for Dapertutto was fashioned out of an aria from Offenbach's 1875 operetta "Les Voyage dans le Lune". The septet which now ends the Venice act was created using the melody of the "Barcarolle".
18. Act IV takes place in Munich at the home of Crespel, father of Hoffman's third innamorata, Antonia. According to the libretto, how is the room furnished?

Answer: Bizzarely

The libretto reads "Une chambre bizarrement meublee" (" A bizarrely furnished room")
19. The scene open's with Antonia's aria "Elle a fui, la tourterelle" ("She has flown away, the turtle-dove"). What is especially notable about this aria?

Answer: The orchestration is by Offenbach.

This aria is one part of the opera that Offenbach managed to fully orchestrate before he died. The orchestration includes the harpsichord, on which Antonia accompanies herself as she sings.
20. Crespel's servant, Frantz, is a comic-relief character who, like Cochenille in Act II, suffers from a handicap. What is Frantz's physical handicap, which drives Crespel to distraction?

Answer: He is hard of hearing.

Frantz's nearly total deafness is a source of intense aggravation to Crespel and of great amusement to Hoffman, who upon greeting Frantz remarks "Ha Ha! Plus sourd encore que l'an passe?" ("Ha Ha! Even deafer than last year?"). Frantz, who has not heard him right replies, in all seriousness, "You're too kind, sir" ("Monsieur m'honore!")
21. Why does Crespel desperately try to keep Hoffman and Antonia apart?

Answer: He believes that Hoffman is endangering her life.

Antonia loves to sing.Unfortunately, she has a unique disease(which her mother died from) which causes her to become feverish and dangerously ill when she sings. Since her love for Hoffman causes her to sing from happiness, Crespel is determined to keep them apart.
22. Besides Hoffman, Crespel is also desperate to keep his daughter away from the sinister Doctor Miracle. Why does Crespel fear Miracle?

Answer: Miracle was the doctor to Antonia's mother, who died under his "care".

Crespel, no doubt accurately, blames Doctor Miracle's "treatment" of his wife for the latter's death years earlier. He is terrified that Miracle will kill his daughter as well, a fear which proves well-founded.
23. What piece does Antonia sing a few phrases of as she dies in her father's arms?

Answer: "C'est une chanson d'amour"

This is the love song she had been singing earlier with Hoffman.
24. The orchestration of much of "Hoffman" was completed by the composer Ernest Guiraud. Apart from this, Guiraud is best known for composing recitatives to replace the spoken dialogue in this popular opera.

Answer: Bizet's "Carmen".

Guiraud's recitatives for Bizet's "Carmen" are still used today, although the original spoken dialogue has become much more popular since the 1970's when the Metropolitan Opera featured a highly successful new production starring Marilyn Horne and conducted by Leonard Bernstein which used the spoken dialogue.
25. The role of Hoffman was originally intended to have been a baritone role.

Answer: True

Offenbach originally conceived the opera (for the Theatre de la Gaite-Lyrique) with a baritone Hoffman and the four heroines as a lyric soprano. When he submitted it for performance at the Opera-Comique, he was forced to make the leading male role a tenor and the heroines a coloratura soprano.

The four heroines (Olympia, Giulietta, Antonia, and Stella), as well as the four villains (Lindorf, Coppelius, Dapertutto, and Miracle), were intended to be performed by the same artist. Beverly Sills, Joan Sutherland, Catherine Malfitano, and Carol Vaness, among others, have continued this tradition for the heroines; Gabriel Bacquier, Norman Triegle, James Morris, and Bryn Terfel, among others, have performed all four villains.
Source: Author jouen58

This quiz was reviewed by FunTrivia editor Bruyere before going online.
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