Yet another DVD of Tosca; the twenty-second, and
counting. At least, this Zurich Opera production, as arguable as
one may find it, offers a non-traditional approach.
Canadian director Robert Carsen conceived a
“play-within-the-play” - not a novel idea in opera/theater, by
all means - not even for Carsen himself who had already tried it
in Paris with The Tales of Hoffmann. To make a long story
short, the action is set in the 1950’s inside a theater, with
shifting points of view for the three acts. Gone are the church
of Sant’Andrea, the Palazzo Farnese and the Castel
Sant’Angelo. In Act 1, we look at the stage from the back of
the stalls, with a proscenium arch, rows of empty chairs, and a
crimson stage curtain that will rise for the Te Deum, unveiling
Tosca (the singer) in full stage regalia. Act 2 is set
backstage, behind the fire curtain. In Act 3, we look from
upstage, with Mario facing the imaginary audience and the firing
squadron facing the real audience. The opera ends – well, almost
- with Tosca throwing herself over the footlights into a
pitch-dark orchestra pit, to return immediately on the stage for
imaginary curtain calls (but then, why is she turning her back
to “her” audience to receive the flowers?). Aesthetically, the
approach does offer striking moments, but Carsen spins out the
mise en abyme to the wire. The distracting overdose of the
“theater-within-the-theater” concept, punctuated with
inconsistencies here and there, fails to convey the emotional
dimension of the work (and what is a Tosca without the
emotion?).
Emily Magee, as a glamorous Ava Gardner-like
star, signs a commendable, staunch Tosca. Casting Thomas Hampson
as Scarpia may look surprising on the paper, but the absence of
darkness in his voice is soon forgotten. The American baritone
gives an eloquent portrayal of this complex character, creating
a stylish, suave, elegant Scarpia. As a result, Hampson looks
even more terrifying than the habitual sardonic fiend.
Jonas Kaufmann is “the undisputed Cavaradossi of our time”. With
his looks and acting, the German tenor is the perfect romantic
hero. The breath line and the phrasing are above reproach, the
baritonal glow to his voice and the use of mezza voce gradually
followed by stentorian, ringing high notes are simply stunning.
The real weak point of this production comes from the pit
with an uncommitted, humdrum reading of the score by Paolo
Carignani. A serious flaw, when the Tosca orchestra
should steal the show.
