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Mundoclasico, 25/08/2011 |
Ditlev Rindom |
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Puccini: Tosca, ROH London, 14 July 2011 |
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A Tosca For Our Times
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London, 14/07/2011. The Royal Opera House, Covent Garden. Giacomo Puccini,
Tosca. Jonathan Kent, director. Duncan Macfarland, revival director. Oaul
Brown, designs. Mark Henderson, lighting designs. Lukas Jakobski (Cesare
Angelotti), Jeremy White (Sacristan), Jonas Kaufmann (Mario Cavaradossi),
Angela Gheorghiu (Floria Tosca), Bryn Terfel (Baron Scarpia), Hubert Francis
(Spoletta), Zhengzhong Zhou (Sciarrone), John Morrissy (Gaoler). The
Orchestra and Chorus of the Royal Opera House. Renato Balsadonna, chorus
master. Antonio Pappano, conductor
First things first: this was the
best performance of Tosca at Covent Garden in years. Jonathan Kent´s 2006
production was originally staged as a vehicle for Angela Gheorghiu, Marcelo
Alvarez and Bryn Terfel and has been revived several times since, featuring
stars such as Violeta Urmana, Jonas Kaufmann and Marcello Giordani. For
anyone familiar with the Royal Opera House, the current run has a peculiar
feeling of déjà-vu, combining as it does the cream of previous performers
into one star-spangled package.
A word of clarification, however.
The first eight performances of this run featured Martina Serafin, Marcello
Giordani and Juha Uusitalo in the principal roles, with the cast in question
only dropping in for the last two - shows recorded for later cinema
broadcast. This raises the inevitable question of at what point an opera
performance turns into a recording session with an audience, since only a
fraction of visitors would be able to attend these glitzy occasions. In a
tough economic climate, it probably makes sense to maximize the financial
output from such celebrities, but it does cast an unfortunate light on their
otherwise esteemed colleagues, who have given four times as many
performances. Is this a template for the future? If so, it doesn´t bode well
for collegial spirit.
These reservations aside, the musical
performance was tremendous, and met by thundering ovations at the end of
every act. The audience´s favourite was probably Bryn Terfel, who
has previously appeared in two revivals. His leering, sadistic and utterly
perverse Scarpia is something of a classic, and the way he manipulates his
naturally glowing timbre to suggest the Baron´s lustful desires is a joy to
behold, his voice feeding off every word. Alongside him, Jonas
Kaufmann gave a wonderfully passionate reading of Cavaradossi, successfully
combining the dreamy artist, virile lover and revolutionary activist.
He also took his shirt off, which should guarantee a few extra buyers of the
DVD. ***His best moment for me was 'E lucevan le stelle' where his
endless supply of breath and perfect diminuendi made time stand still, and
his earlier cries of "Vittoria! Vittoria!" brought the house down.
More controversial – at least judging by the audience response - was
Angela Gheorghiu. She received a very warm ovation, if somewhat less so than
her colleagues, and gave a highly convincing account of Tosca´s transition
from playful kitten to murdering tigress. She has the seductive timbre and
fiery temperament for this role and for her audience the presence of cameras
is always a godsend, guaranteeing a level of dramatic involvement she
doesn´t always provide. Her only limitation was entirely expected: decibels.
The top of her voice is strong and the sound always exceptionally beautiful,
but her lyric instrument doesn´t naturally ride Puccini´s orchestra in the
expected fashion and at times one wished in vain for a stronger, more
naturally vibrant middle of the voice. That said, her detailed phrasing and
exquisitely dusky shadings were constant compensations and 'Vissi d'arte'
had the expected impact. Medium-level projection is a price I'm happy to pay
for a diva this believable.
The other great stars of the night were
in the pit - the Royal Opera House Orchestra absolutely on fire under
Antonio Pappano's inspired direction. The music roared, swooned and sobbed
in one unstoppable arch, so much so that the only real break for applause
was after Tosca's aria. Delicate string solos aside, this was red-blooded
Puccini with the brass blasting the audience in their seats, and the house
went wild for it.
Jonathan Kent's production (as I've said before)
doesn't do much; it's a perfectly serviceable series of sets but it offers
no real insights or visual attractions to drive the story onwards. When the
music is this good, though, it hardly matters. This was a Tosca to stand
comparison with the greats of the past.
*** Um die "few extra
byers" nicht zu enttäuschen, der Hemdlose war einer der Gefängniswärter, ein
(recht gut gebauter) Statist. |
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