Off in Offenbach’s World

The new “Tales of Hoffmann,” which closes the Opera Pacific season this week, gives many satisfactions and a few disappointments. Best of all, most of the time, Offenbach’s beloved score--endlessly rewritten, rearranged, reordered and reedited over the years--sounds like its irresistible self.

Conducting from his place in the orchestra pit, artistic director John DeMain effectively manages the climaxes, controlling the pace, presiding over a tidy and resourceful orchestra. All the singers--principals, featured vocal actors and chorus--are left free to contribute, which they do well.

Best, as one might expect of the biggest star in the cast, is the Hoffmann of Vinson Cole, who almost makes the foolish hero lovable--Hoffmann is such a boob--and in all situations sings with ardor, effortlessness, a healthy ring and great sincerity. We still talk about Cole’s wonderful Faust, with this same company in 1993; his Hoffmann no doubt will be remembered as affectionately.

With the clever, pointed and very funny stage direction of Ian Judge, who conceived this production, along with set designer Tim Goodchild, originally for Australian Opera, the rest of the cast operates on a lower, if quite serviceable, level of achievement.

Dominating both prologue and epilogue, and much of the central portion of the opera, the accomplished mezzo-soprano Zheng Kao imbues both the Muse and Nicklausse with a beautiful sound, comprehensible word-caressing and acting that brings the lengthy fantasy to life.

Jan Grissom, the American soprano taking all four parts of Hoffmann’s loves, looks seductive in all her guises and sings with a reliable versatility. Her visually over-the-top Olympia, assisted by an on-target quartet of male-mannequin types, hilariously pleased Tuesday’s opening-night audience in Segerstrom Hall at the Orange County Performing Arts Center.

She sailed through all the high-note challenges easily, but those arpeggios needed tuning. Grissom then performed best as the lyric Antonia, using the loveliest and purest sound at her disposal, and singing all that difficult music with aplomb. Her Giulietta lacked a convincing earthiness of voice; as an impersonation, it became perfunctory. Her blunt Stella offered visual contrast, but only a modicum of vocal character.

Promising in the prospect, in performance Richard Bernstein’s gallery of villains fell short of dramatic impact and was only nicely, not authoritatively, sung. All four of his characters lacked charisma; particularly disappointing was the baritone’s “Scintille, diamant,” inappropriately and passively sung while lying on a bed of pillows--a position for which Bernstein can thank director Judge.

Howard Bender got under the skin of Andres, Frants and Pitichinaccio, giving each a fillip of humor. With subtle skills, Philip Cokorinos brought authority and contrasts to Luther, Crespel and Schlemil. Also effective were Chad Berlinghieri (Cochenille) and Kristin Chavez (Antonia’s mother).

Though staged too glibly for credibility, the able chorus sang well. And the Opera Pacific Orchestra distinguished itself with clear, balanced and never-overpowering playing.

The busy, over-furnished set, by Goodchild, and the witty, creatively wacky costumes, by Diedre Clancy, are set off handsomely by the faceted lighting scheme of Noele Stollmack.

BE THERE

“Tales of Hoffmann,” Opera Pacific, Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa. Tonight and Saturday, 7:30 p.m.; Sunday 2 p.m., with Adam Klein as Hoffmann and Louis Otey as the four villains. In French, with English supertitles. (949) 553-2422. $32-$107.