An Inauspicious Start

Yet another "nugget" from a stash of historical documents at my parents' house.

Tales of Hoffmann was the first Knoxville Opera production that I actually sang on stage. Previously, I had been operating the supertitles. Actually, the supertitles "gig" I stumbled into accidentally, too. A friend was doing them but was going to be out of town, so I filled in for him. I think he liked being relieved of the responsibility, so he would call on me every production. Eventually, the opera company started calling me directly. Then Don Townsend found out I was a singer... and a tenor! and the rest, as they say, is history.

Below is a transcription of the Knoxville News-Sentinel review, November 21, 1992. Bob Barrett was right. Hoffman was long! And it was a whole lot more work to be on stage than to doing supertitles. With supertitles, I just had to come in during production week, read through the score, and push a button. As a chorus member, I had to study and memorize the score, go to music rehearsals, and then block off two to three weeks for staging and production. It took me awhile to began enjoy doing chorus. I did a few more supertitles, begging off with Don Townsend. But, as I may have mentioned previously, it became easier to just do chorus than to say no to Don everytime he called.

Length, heat sole ills in outstanding opera
by Bob Barrett

The Knoxville Opera Company production of Jaques Offenbach's "The Tales of Hoffmann" gets off to a rousing start but begins to drag before its three-and-a-half hour production ends.

Enjoyment of the opera was not helped by the heat in the Civfic Auditorium that reminded operagoers of the summer production of "Don Quixote." Many of the men in the audience shed their coats and those that remained to the end were in shirtsleeves.

Many others were not able to stay through the entire evening.

It's a pity. The voices were excellent, the staging inventive and the acting well above par for most operas.
Top vocal honors must go to soprano Stella Zambalis, who starred as each of Hoffman's loves, but took the audience by storm in the "Olympia" segment with her comedic talent.

For those unfamiliar with the story line, Hoffmann falls in love with Olympia, unaware that she is only a mechanical doll. Her movements and comic timing as she delivered the starring aria of the scene were without compare.

It's too bad the members of the chorus could not all act the part of automatons as well as the gifted Zambalis.
Their part in the act was adequate for a local product, but that's all.

A deep bow to the one who staged the method for getting "Olympia" to glide so smoothly over the stage while being pushed by servants. (The secret is roller skates--I kid you not.)

Only a hair behind Zambalis in vocal fireworks was Lester Senter. Her role as the muse and Nicklausse was outstandingly done. Had she had as much to sing as Zambalis, it would be a tough call.
Joseph Wolverton, as Hoffmann, had the longest role among the male voices, but, good as his tenor was, he paled before the power and execution of Richard J. Clark's fine bass-baritone.

Clarke played the roles, if you will, of Satan--bringing Hoffmann to the depths with each of his lady loves. He was a convincing evil, with rich body that carried all the overtones of evil he intended to portray.

Cesar Ulloa, was outstanding in his character tenor roles. His comic timing and rubber face only complimented his fine voice. Some may be put off by his hunchback characterization in the final act as an unnecessary cut of those afflicted, but that's the way someone decided to play it.

WUOT's voice of classical music, Daniel Berry, was in fine fettle in several supporting roles. His fine voice was best in solo and duets, but tended to be drowned out in the trio with Wolverton and Clark in the second act.
Scenery, belonging to the Virginia Opera, was oustanding.