Synopsis

Prologue
tavern

The poet E.T.A. Hoffmann is in love with Stella, a renowned opera singer. Lindorf, a rich counselor, also loves her and intercepts a note she has written to Hoffmann. Lindorf is confident he will win her for himself. Hoffmann arrives at the tavern accompanied by his muse who has taken the form of a servant named Nicklausse. Nicklausse, who is only visible to Hoffmann, keeps watch over her master as he is prone to make questionable decisions. Hoffmann sings a ballad about a disfigured dwarf named Kleinzach to a group of students. During the song, his mind wanders to recollections of a beautiful unknown woman. When Hoffmann recognizes Lindorf as his rival, the two men trade insults. Nicklausse helps calm the situation and Hoffmann begins to tell the stories of his three past loves.

act i
Spalanzani's Parlor

In his parlor in Paris, the eccentric inventor Spalanzani has created a mechanical doll named Olympia. Hoffmann, who thinks the girl is Spalanzani’s daughter, has fallen in love with her. Spalanzani’s former partner Coppélius sells Hoffmann a pair of magic glasses, through which he alone perceives Olympia as human. When Coppélius demands his share of the profits that the two inventors expect to make from the doll, Spalanzani gives him a worthless check.

Guests arrive, and Olympia captivates the crowd with the performance of a dazzling aria, which is interrupted several times in order for the doll’s mechanism to be recharged. Oblivious to this while watching her through his glasses, Hoffmann is enchanted. He declares his love, and the two dance. Olympia whirls faster and faster as her mechanism spins out of control. During the melee, Hoffmann’s glasses break. Coppélius, having discovered that the check was worthless, returns in a fury. He short circuits Olympia, who explodes into pieces as the guests mock Hoffmann for falling in love with a machine.

act ii
Antonia's Home in Munich

At an elegant home in Munich, the young girl Antonia sings a plaintive love song filled with memories of her dead mother, a famous singer. Her father, Crespel, has taken her away in the hopes of ending her affair with Hoffmann and begs her to give up singing: She has inherited her mother’s weak heart, and the effort will endanger her life. Hoffmann arrives, and Antonia joins him in singing until she nearly faints. Crespel returns, alarmed by the arrival of the charlatan Dr. Miracle, who treated Crespel’s wife the day she died. The doctor claims he can cure Antonia, but Crespel accuses him of killing his wife and forces him out. Hoffmann, overhearing their conversation, asks Antonia to give up singing, and she reluctantly agrees. The moment he has left, Miracle reappears, urging Antonia to sing. He conjures up a vision of her mother, who claims she wants her daughter to relive the glory of her own fame. Antonia can’t resist. Her singing becomes more and more feverish until she collapses. Miracle coldly pronounces her dead.

act iii
Giulietta's Palace

At her palace in Venice, the courtesan Giulietta joins the crowd in singing a barcarole. A party is in progress, where Hoffmann gambles, always watched over by Nicklausse. When Giulietta seems to catch Hoffmann’s eye, Nicklausse warns the poet against the courtesan’s charms. Hoffmann denies any interest in her. Having overheard them, the sinister Dapertutto produces a large emerald with which he will bribe Giulietta to steal Hoffmann’s reflection—just as she already has stolen her current lover Schlémil’s shadow. As Hoffmann is about to depart, Giulietta seduces him into confessing his love for her. Schlémil returns and accuses Giulietta of having left him for Hoffmann, who realizes with horror that he has lost his reflection. Schlémil challenges Hoffmann to a duel and is killed. Hoffmann takes the key to Giulietta’s boudoir from his dead rival but finds the room empty. Returning, he sees her leaving the palace in the arms of the dwarf Pitichinaccio.

epilogue
tavern

Having finished his tales, all Hoffmann wants is to forget. Nicklausse declares that Stella has the combined qualities of the women in each story. In a divine moment the muse sheds the form of Nicklausse and resumes her true appearance, which causes Hoffmann to recognize that his true love was with him all along: his art. In this moment of clarity, he finds inspiration for his next creative endeavor. Arriving in the tavern after her performance, the diva finds Hoffmann too engulfed in writing to acknowledge her, and leaves with Lindorf. Hoffmann and the muse bask in their newfound focus.