OFFENBACH: “Les Contes D’Hoffmann.” With Eva Lind,...

OFFENBACH: “Les Contes D’Hoffmann.” With Eva Lind, Jessye Norman, Cheryl Studer, Anne Sofie von Otter, Francisco Araiza, Samuel Ramey, others; forces of Dresden State Opera, Jeffrey Tate, conductor. Philips 422 374-2. Based on the recent discovery of hundreds of autographed pages, Michael Kaye has come up with yet another edition of the problematic Offenbach score, left unfinished at the composer’s death and generally distorted by others over the years. Much spurious music has been cut, including Dappertutto’s popular “Scintille diamant,” and the massive sextet in the Venice scene. The duties of Nicklausse, who now doubles as Hoffmann’s muse, are expanded to major proportions, and Giulietta has gained a coloratura aria. This lengthy version is both dramatically and musically effective, at least on recordings (a similar version was performed by L.A. Music Center Opera in 1988). Lind is a somewhat wiry Doll, while Norman--who ignores the high C-sharp in the trio--sounds far too healthy as Antonia. Otherwise, the cast is strong. In the arduous title role, Araiza’s tenor sounds less worn than of late, and he sings with passion as well as elegance. Studer reveals ample lyricism and agility as the courtesan. Ramey’s villains are imaginatively conceived and suavely sung. Tate’s task must have been Herculean as he mastered new music over a three-year recording schedule. Here he is fervent and committed.