Is there an issue? Send a MessageReason:
None
Changed line(s) 44 (click to see context) from:
** Hoffmann's four nemeses are traditionally all played by the same baritone: Councillor Lindorf (frame story), Coppélius (Olympia's story), Dr. Miracle (Antonia's story), and Dappertutto (Giulietta's story). They can be interpreted as a single demonic nemesis who takes multiple forms.
to:
** Hoffmann's four nemeses are traditionally all played by the same baritone: Councillor Lindorf (frame story), Coppélius (Olympia's story), Dr. Miracle (Antonia's story), and Dappertutto (Giulietta's story). They can be interpreted as a single demonic nemesis who takes multiple forms.forms, like Robert Helpmann's performance in the 1951 film.
Is there an issue? Send a MessageReason:
None
Changed line(s) 52 (click to see context) from:
* ContinuitySnarl: The opera has become infamous for this, as Offenbach was still workshopping ot by the time of his death, with numerous writers later finishing it in their own ways. As a result, characterizations and story elements can vary quite a bit between productions. At least four main versions exist of ''The Tale of Giulietta'', with the most drastic difference perhaps being the ultimate fate of the title character.
to:
* ContinuitySnarl: The opera has become infamous for this, as Offenbach was still workshopping ot it by the time of his death, with numerous writers later finishing it in their own ways. As a result, characterizations and story elements can vary quite a bit between productions. At least four main versions exist of ''The Tale of Giulietta'', with the most drastic difference perhaps being the ultimate fate of the title character.
Is there an issue? Send a MessageReason:
None
Changed line(s) 51 (click to see context) from:
* CoatFullOfContrabrand: The ''Musical TV Theatre'' adaptation presents [[MorphicResonance both Coppélius’s glasses and Dr. Miracle’s medicine]] in this manner.
to:
* CoatFullOfContrabrand: CoatFullOfContraband: The ''Musical TV Theatre'' adaptation presents [[MorphicResonance both Coppélius’s glasses and Dr. Miracle’s medicine]] in this manner.
Is there an issue? Send a MessageReason:
None
Changed line(s) 87 (click to see context) from:
* OldFashionedRowboatDate: It's pretty much obligatory for ''The Tale of Giulietta'' to start with a gondola ride through Venice set to the barcarolle. Who the lovebirds actually ''are'' varies. It might be Giulietta and Nicklausse, Giulietta and Dapertutto, of some random couple who are never seen again.
to:
* OldFashionedRowboatDate: OldFashionedRowboatDate:
** It's pretty much obligatory for ''The Tale of Giulietta'' to start with a gondola ride through Venice set to the barcarolle. Who the lovebirds actually ''are'' varies. It might be Giulietta and Nicklausse, Giulietta and Dapertutto, of some random couple who are never seenagain.again.
** Gets somewhat of a DarkReprise in the 1983 film, where — before Hoffmann’s duel against Schlemihl — we see Antonia, Olympia and Stella seated in gondolas. The effect is less “romantic” and more “[[AndIMustScream souls trapped in purgatory]].”
** It's pretty much obligatory for ''The Tale of Giulietta'' to start with a gondola ride through Venice set to the barcarolle. Who the lovebirds actually ''are'' varies. It might be Giulietta and Nicklausse, Giulietta and Dapertutto, of some random couple who are never seen
** Gets somewhat of a DarkReprise in the 1983 film, where — before Hoffmann’s duel against Schlemihl — we see Antonia, Olympia and Stella seated in gondolas. The effect is less “romantic” and more “[[AndIMustScream souls trapped in purgatory]].”
Is there an issue? Send a MessageReason:
None
Added DiffLines:
** Stella and Lindorf seem to be inspired by characters from ''A New Year's Eve Adventure'', who are in turn believed to have been based on real people Hoffmann knew. However, the opera changes their names, occupations ''and'' personalities, essentially turning them into [[OCStandIn O. C Stand-ins]].
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* AdaptationalContextChange: Both the 1970 and 1983 films have Nicklausse/Miklós tell Stella ”[[YouAreTooLate Too late, madame]]” when she comes to greet Hoffmann at the end. In the former they say it coldly, as Hoffmann has just rejected Stella to her face. In the latter it’s said empathetically, as Hoffmann has just drunken himself to death, never learning that Stella still had feelings for him.
Is there an issue? Send a MessageReason:
None
Changed line(s) 25 (click to see context) from:
** The 1951 film never establishes that Nicklausse is a muse in disguise, portraying them mostly as some androgynous person who just kinda hangs around.
to:
** The 1951 film never establishes that Nicklausse is a muse in disguise, portraying them mostly as some androgynous person who just kinda hangs around. Also the case in the 1983 film, where it’s not clear if the Muse actually exists given that she only appears in Hoffmann’s DyingDream.
