Opera Australia's production of Les contes d'Hoffmann, premiered in Sydney two years ago, has made a happy transition to the Festival Theatre in Adelaide, under the aegis of the State Opera of South Australia. One very good reason for its success is the reappearance of Emma Matthews in the four soprano roles of Olympia, Giulietta, Antonia and Stella - and in that order; director Stuart Maunder's decision to present the courtesan before the singer works well in this production.

Rosario La Spina reprises his role as Hoffmann, with his fine tenor voice ringing out especially in the Kleinsach number, even if he is less convincing as a writer distracted from his true calling. New to this season are a uniformly solid cast, with Douglas McNicol wringing the villainous juice out of the Lindorf/Coppélius/Dr Miracle/Dappertutto parts, Andrew Collis contributing solidly as Spalanzani/Luther/Crespel, also David Thelander in the dual role of Schlemil and Hermann. Adam Goodburn is entertaining as Nathanael/Andrès/Cochenille/Pitttichinaccio/Frantz, particularly the last named. Particularly welcome in this production were two leading Australian mezzos. The veteran Elizabeth Campbell was an inspired choice as Antonia's mother, and Sally-Anne Russell brought her warm even mezzo to bear as Nicklausse and Hoffmann's muse. Both also contributed well-honed dramatic skills to the occasion.

The production is rather more literal than what we are accustomed to on the operatic stage, these days, but no less effective for that. With well-differentiated sets on a revolve, one act moves quite seamlessly into another. There is an overhead mirror, something Opera Australia seems to find hard to do without lately, which makes for a slightly distracting kaleidoscopic effect, and a lot of sumptuous detail in the sets. Dr Coppélius's laboratory is hung about with spare body parts and an ornate nineteenth century cabinet for Olympia's transformations. When she starts to run down during 'Les oiseaux dans la charmille', she is resuscitated by means of a defibrillator. The Venetian setting is particularly plush, in contrast to the fairly sparse apartment of Crespel, in which a great coup de théâtre is achieved when Antonia's mother arises out of the centre of a grand piano.

Highlights inevitably included Matthews's rendition of 'Les oiseaux', in which her sparkling personality joins with her effortless and accurate coloratura to bring to life an Olympia way beyond any mechanical creation. She is somewhat less effective as the courtesan Giulietta, verging almost on the vulgar, but extremely effective as Antonia, singing beautifully and sympathetically with a delicately judged dying note. The Barcarolle smoothly elided the first and second acts in rather subdued but lovely style. McNicol sang a generally fine 'Scintille diamant', although his voice wavered a bit towards the end.

The Adelaide Symphony Orchestra provided excellent orchestral support under the direction of Benjamin Northey. Mention must also be made of the State Opera Chorus, particularly its male members in the opening and closing scenes, who sang with formidable discipline as they wove about the stage in some quite tricky choreography.