Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Reviews

Adrianne Pieczonka (Tosca) [Photo by Cory Weaver courtesy of San Francisco Opera]
12 Jun 2009

Tosca in San Francisco

Like Carmen, Tosca is a constant presence in our operatic lives, frequently revisited like it or not.

G. Puccini: Tosca

Above: Adrianne Pieczonka (Tosca) [Except as otherwise indicated, photos by Cory Weaver courtesy of San Francisco Opera]

 

Over the years some of the performances have even been memorable — fiery Carmens and intense Toscas, mesmerizing conducting, productions that have occasionally been gripping. And there have been those performances that are imminently forgettable.

We may all have had our favorite performance, the one to which we compare all others. Or perhaps none of the productions we have seen have come near our idea of what the perfect Carmen or the perfect Tosca should be. This latest San Francisco Opera rendition of Tosca will be many things to many people, though it is unlikely to be anyone’s favorite, more likely for most of us it is one to be forgotten. The sooner the better.

Picture005TMC.gifCarlo Ventre (Cavaradossi) [Photo by Terrence McCarthy courtesy of San Francisco Opera]

Back in 1997 SFO general director Lotfi Mansouri had the kitsch idea of reviving the 1923 San Francisco Opera production (the first SFO season) to reopen the repaired War Memorial Opera House. Kurt Herbert Adler had also once dragged it out for some occasion, maybe it was to commemorate the company’s fiftieth anniversary. Just now David Gockley must have calculated the savings to be had by hanging these old canvases instead of paying for a modern production. And perhaps he believes that these old rags are like an old sweatshirt, just too comfortable and lovable to throw out.

Here in San Francisco we were once promised the Tosca of Maria Callas, but instead we had the brilliant Marie Collier. We had the Tosca of Magda Olivero at age 71 (she is now 99), a holdover from the golden age of verismo to show us how it was supposed to have been done. And we have had a host of lesser and greater Toscas over the years. The latest one is Canadian soprano Adrienne Pieczonka, whose full, rich and even voice makes a plush, comfortable Tosca quite at odds with the quixotic temperament of the high strung murderess who crosses herself and then hurls herself into the void. Need one be reminded that Puccini’s Tosca is a character defined role.

Picture001.gifLado Ataneli (Scarpia) and Adrianne Pieczonka (Tosca)

Cavaradossi was Italian tenor Carlo Ventre who brought bona fide Italianate vocalism, and bona fide stock Italianate acting gestures. Mr. Ventre comes from the Carreras mold, heaving his voice from his throat and chest, igniting an exciting squillo when needed. Preoccupied with tenorial sound he found none of the sweetness Puccini imbued into the arias of his sentimental painter, leaving this tenor under appreciated by a crowd ready to cheer. He was however a strength of the production.

Georgian baritone Lado Ataneli seemed a more versatile artist than his colleagues as he was able to combine singing with character. The sheer power of Puccini’s Scarpia though must tower over the artistic personalities of his victims. He must embody both spiritual and temporal power, and the brute force of pure libido. Mr. Atanel’s more sophisticated approach to his role was instead overwhelmed by the more operatic, less dimensional performances of his colleagues.

Picture041.gifAdrianne Pieczonka (Tosca) and Lado Ataneli (Scarpia)

Both conductor Marco Armilliato and stage director Jose Maria Condemi confused verismo with realism, meticulously illustrating every twist and turn of the text. Verismo is direct, immediate emotion, not elaboration of detail. It is thus that verismo lends itself to melodrama — a sudden shocking action that unleashes a huge emotion. Rather than build to the melodramatic moments that cap each of Puccini’s three acts, this production lost itself in tedious detail, exacerbated by a Tosca and Cavaradossi physically incapable of inhabiting their characters. Mo. Armilliato sometimes took his musical illustration to extremes, forcing his singers to establish and hold the beat of the text while he dragged it emotively. It was here that tedium became torture.

Of the smaller roles, the Spoletta of Joel Sorensen was effective, the scenes involving Scarpia’s henchmen were in fact skillfully drawn by stage director Condemi. The Sacristan of Dale Travis and his scenes were terminally cute, the San Francisco Boys Chorus proving itself once again one of our city’s great treasures.

It is time for a new Tosca in San Francisco, a theatrical one.

Michael Milenski

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):