Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

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):