Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

OPERA TODAY ARCHIVES »

Reviews

Amanda Echalaz as Tosca [Photo by Robert Workman courtesy of English National Opera]
07 Jun 2010

Tosca, ENO

Seeing Tosca at the Coliseum brings back happy memories, as it was a performance of Tosca (in a revival of the Keith Warner production in the 1990s) which occasioned my very first trip to the ENO. That also happens to have been the first time I ever saw Tosca.

Giacomo Puccini: Tosca

Tosca: Amanda Echalaz; Cavaradossi: Julian Gavin; Scarpia: Anthony Michaels-Moore; Angelotti: Pauls Putninš; Sacristan: Jonathan Veira; Spoletta: Christopher Turner; Sciarrone: James Gower. Conductor: Edward Gardner; Director: Catherine Malfitano; Set Designer: Frank Philipp Schlössmann; Costume Designer: Gideon Davey; Lighting Designer David Martin Jacques

Above: Amanda Echalaz as Tosca [Photo by Robert Workman courtesy of English National Opera]

 

Actually, that isn’t strictly true. The first time I came across Tosca was five years earlier, in my early teens and long before I became really interested in opera, when I was nonetheless gripped by the live international TV broadcast from the authentic locations in Rome. That film’s star, Catherine Malfitano, moved into opera direction herself six years ago, and it is she who has been charged with ENO’s latest new staging.

The result is a competent, dramatically coherent and (how often these days can one say this about a recent ENO staging of a repertoire standard?) eminently revivable production. Above all, it stands out for the believability of the characters — I can’t remember ever having seen such a natural, genuine and un-stagey Act 1 love scene between Tosca and Cavaradossi, nor a Scarpia who so successfully avoided villainous caricature.

The Act 1 set design gives a modern twist on a naturalistic setting, with a slightly abstract, pixellated version of what is very definitely a depiction of the actual interior of Sant’Andrea della Valle, particularly during the Te Deum when a shift in the lighting results in the basilica’s characteristic shafts of pale yellow light beaming down from the high windows. This coup-de-theatre by lighting designer David Martin Jacques is one of many touches throughout the opera which keep the production feeling true to its location, another being the decision to leave both the Act 2 Cantata and the Shepherd Boy’s solo in the original Italian.

The Act 2 staging is entirely straightforward, until the last few seconds where a projection of an expanse of infinite star-filled space appears on the back wall, a symbol of the simultaneous liberty and wilderness into which Tosca moves following Scarpia’s murder. After that, Act 3 has a more abstract feel, retaining the star-studded backdrop from the end of Act 2, with a striking curved set which looked somewhat as though a ‘realistic’ recreation of the uppermost reaches of the Castel Sant-Angelo had been tipped backwards through ninety degrees. This for me was the one jarring note, principally because of the considerable resultant visual resemblance to Act 2 of Nikolaus Lehnhoff’s Tristan und Isolde for Glyndebourne — I couldn’t help feeling that I was watching the wrong opera, and that the music and visuals didn’t match. I half-expected Tosca to make her final exit in the manner of Isolde in that production, drifting off into space.

The title role was taken by the South African soprano Amanda Echalaz. Although a substantial instrument — which I have previously showcased to thrilling effect elsewhere, including in this very role with Opera Holland Park — it rarely manages to dominate volume-wise above heavy Puccini orchestration in a house the size of the Coliseum. Nonetheless it is a beautifully-coloured, smooth and classy, and she brings the character to vivacious and passionate life.

Her Cavaradossi was Julian Gavin — a phrase which gives me a certain sense of deja vu, as I have now heard him in three different ENO productions of the same opera. It is to his great credit that almost fourteen years after the first time, he retains the vocal intensity and physical vigour of youth, but now brings added value to the role with the more baritonal colours of his increased vocal maturity. The spinto character of his upper voice made the big moments thrilling, particularly ‘Vittoria!’, Cavaradossi’s political ardour winning over his romantic ardour.

Anthony Michaels-Moore’s Scarpia was a good vocal match for Echalaz, perhaps not quite as firmly in his element as in his recent memorable Rigoletto here but a dangerous, vocally alluring snake in the grass. I suspect that like his tenor colleague, Mr Michaels-Moore has sung multiple English versions of this opera — one of the disadvantages of ENO’s use of surtitles is that it highlights when the words sung do not match those which were supposed to be sung, and there were a couple of such glitches.

The smaller roles were strongly assumed — Pauls Putninš was a dramatically-compelling Angelotti despite a shortage of a vocal ‘edge’ to lend urgency to his delivery, while ENO Young Singers Christopher Turner (Spoletta) and James Gower (Sciarrone) were both eloquent and incisive.

On behalf of all singers-in-English, I grieve for ENO’s obsession with using a different translation for every new staging. That sort of thing is inclined to mess with singers’ minds. Considering that Puccini doesn’t tend to translate well into English, the Amanda Holden translation used in David McVicar’s 2002 production was really quite respectable, bringing a natural rhythm to the text within the tight constraints of the musical line. So why now revert to an ancient and rather ungainly translation by the late Edmund Tracey? I hope other English-language companies pick up on Holden’s translation so it doesn’t now disappear forever.

Under Ed Gardner, the orchestral sound was full of life and colour, with special mention due to the vicious snarls of the trumpet in the torture scene. The cello quartet just before ‘E lucevan le stelle’ was beautifully played — when I saw the last production I vividly remember the passage being a disaster, and it sounded so utterly different this time round that I had to compare the orchestra lists in the two programmes. It would appear to have been exactly the same cellists now as then, which underlines yet again the extent of the good that Gardner’s directorship has done this band. Musically, this performance is a triumph.

Ruth Elleson, May 2010

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):