Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

The Barber of Seville, ENO London

This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.

Monteverdi: Il ritorno d’Ulisse in patria, Bostridge, Barbican London

The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.

English Touring Opera - Debussy, Massenet and Offenbach

English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).

“Nessun Dorma — The Puccini Album”

Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.

Verismo Double Header in Los Angeles

LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.

Viva Verdi at Opera Las Vegas

On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.

Barbera Sings a Fascinating Recital in San Diego

On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.

Wigmore Hall Complete Schubert Song Series begins with Boesch and Johnson

The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Luisa Miller in San Francisco

Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.

Salieri: La grotta di Trofonio (Trofonio’s Cave)

Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.

Chicago Lyric’s Stars Shine at Millennium Park

The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.

Far in the Heavens — Choral Music of Stephen Paulus

Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.

Gluck: Orphée et Eurydice

Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.

Vaughan Williams and Holst Double Bill

One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.

Iestyn Davies at Wigmore Hall

Is there anything that countertenor Iestyn Davies cannot do with his voice?

Prom 75: The Dream of Gerontius

BBC Proms Youth Choir shines in a performance notable for its magical transparency

Prom 67: Bernstein — Stage and Screen

The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.

Prom 65: Alice Coote sings Handel

Disappointing staging mars Alice Coote’s vibrant if wayward musical performance

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.



Dynamic DVD 33569
19 Apr 2010

Tosca at Torre del Lago, 2007

Opera festival DVDs often seem to be produced as tempting advertisements meant to induce viewers to consider a trip to that festival for the next season.

Giacomo Puccini: Tosca

Floria Tosca: Antonia Cifrone; Mario Cavaradossi: Stefano Secco; Il barone Scarpia: Giorgio Surian; Cesare Angelotti: Riccardo Ferrari; Spoletta: Massimo La Guardia; Il Sagrestano: Franco Boscolo; Sciarone: Fernado Ciuffo. Orchestra and Chorus of Festival Puccini. Conductor: Valerio Galli. Director: Mario Corradi. Festival Puccini, Torre del Lago, 2007.

Dynamic 33569 [2DVDs]

$39.49  Click to buy

Thus, this recording of Tosca at the 2007 Puccini festival in Torre del Lago opens with a travelogue sequence, with beautiful shots of the lake and then film of the handsomely attired audience arriving for the show. The actual staging may not be to the taste of every potential opera tourist, but the ecstatic response of the live audience, as recorded, suggests that a good time is there for the having.

Igor Mitoraj’s sets aren’t much more than a few short pedestals and a canopy bed oddly situated in Scarpia’s office, all lain out in front of what appears to be an open backstage, clothed in darkness. As is typical in these minimalist set stagings, the costumes (also by Mitoraj) offer more visual interest, if not originality. Some may wonder why in act two, Tosca’s gown for the cantata features a red serpent pinned to her breast. These same wondering folk may ask why Scarpia’s henchmen are already on stage as the opera opens, ambling away casually as Angelotti, supposedly breathless, stands stock still. An opera as popular as Tosca leads directors to search out fresh approaches, but director Mario Corradi’s ideas mostly smack of desperation. He does manage a fairly nice twist with “Vissi d’arte,” however, with Scarpia leading Tosca onto his bed, from where she sings her prayer while he lounges next to her, patiently awaiting his sensual reward.

Antonia Ciffrone has all the physical attributes of a great Tosca - a wild mane of black hair, beauty and sensuality, a passion veering into the hysterical. The voice, while nothing special, manages the role’s challenges without too much stress. Even better is Stefano Secco as Cavaradossi. Handsomer men have taken the role, but Secco sounds like a major tenor here, keeping a lyric line and yet able to muster the power for the more violent passages. Scarpias often steal the show, but not here, with Giorgio Surian bellowing and warbling, while offering nothing new to the usual portrayal of the sadistic lecher.

The Festival Puccini orchestra, surprisingly, sounds tentative at times under Valerio Galli’s baton, especially the slightly sickly winds. They seem to be a smaller force as well, under-powered at key moments. The audio is clear and clean but with a flat perspective that suggests either amplification or the most perfectly placed microphones imaginable.

The market does not lack for greater versions of this Puccini masterpiece, but for those who love this opera, this DVD will still prove of some entertainment value.

Chris Mullins

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):