The Tales of Hoffmann/ENO, Coliseum - review

Par for 19th-century opera, you might think, and a sad comment on gender relations. And yet the fascination of Offenbach's masterpiece lies in its subtle anatomisation of male desire. Bluebeard's closet is here unlocked and the secrets revealed.
Richard Jones's inspired new production mixes a potent cocktail of image and reality, illusions and fantasies, with his trademark surreal humour. Giles Cadle's obliquely ranged set offers a suitably sideways view.

The doll, Olympia, which cleverly swivels on a false lower torso, is translated from Spalanzani's laboratory to a mock woodland scene with wooden squirrels, animal masks and birds on sticks. Here even nature is artificial.

The conclusion to the Antonia act, where the singer stands on folio scores of operas by Boieldieu and Auber to deliver her fatal performance, is wonderfully creepy (enhanced by Mimi Jordan Sherin's spooky lighting). Nor is Jones's Hoffmann forgiven at the end for his yobbish attitude towards women: his lover Stella rejects him and even his drinking companions round on him accusingly.

Barry Banks sings Hoffmann with plenty of ardour and the closer the poet hurtles to his self-destructive end the greater the confidence with which Banks's high notes ring out. Georgia Jarman takes the roles of Hoffmann's four lovers with aplomb, while Clive Bayley does the same for the four male adversaries, deploying the natural iron in his tone to insidious effect.

Superb as Hoffmann's friend/muse Nicklausse, Christine Rice sports schoolboy short trousers and grubby knees - a neat comment on the immaturity of Hoffmann.

Simon Butteriss does a priceless song and dance act as the servant Frantz. Antony Walker conducts fluently.

Until March 10 (0871 911 0200, eno.org)

The Tales of Hoffmann/ENO
London Coliseum
St. Martin's Lane
WC2N 4ES