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 Performances

Collision: Spectra Ensemble at the Arcola Theatre

‘Asteroid flyby in October: A drill for the end of the world?’ So shouted a headline in USA Today earlier this month, as journalist Doyle Rice asked, ‘Are we ready for an asteroid impact?’ in his report that in October NASA will conduct a drill to see how well its planetary defence system would work if an actual asteroid were heading straight for Earth.

Joshua Bell offers Hispanic headiness at the Proms

At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of 1889 where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.

Hibiki: a European premiere by Mark-Anthony Turnage at the Proms

Hibiki: sound, noise, echo, reverberation, harmony. Commissioned by the Suntory Hall in Tokyo to celebrate the Hall’s 30th anniversary in 2016, Mark-Anthony Turnage’s 50-minute Hibiki, for two female soloists, children’s chorus and large orchestra, purports to reflect on the ‘human reverberations’ of the Tohoku earthquake in 2011 and the devastation caused by the subsequent tsunami and radioactive disaster.

Janáček: The Diary of One Who Disappeared, Grimeborn

A great performance of Janáček’s song cycle The Diary of One Who Disappeared can be, allowing for the casting of a superb tenor, an experience on a par with Schoenberg’s Erwartung. That Shadwell Opera’s minimalist, but powerful, staging in the intimate setting of Studio 2 of the Arcola Theatre was a triumph was in no small measure to the magnificent singing of the tenor, Sam Furness.

Khovanshchina: Mussorgsky at the Proms

Remembering the centenary of the Russian Revolution, this Proms performance of Mussorgsky’s mighty Khovanshchina (all four and a quarter hours of it) exceeded all expectations on a musical level. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.

Santa Fe: Entertaining If Not Exactly (R)evolutionary

You know what I loved best about Santa Fe Opera’s world premiere The (R)evolution of Steve Jobs?

Longborough Young Artists in London: Gluck's Orfeo ed Euridice

For the last three years, Longborough Festival Opera’s repertoire of choice for their Young Artist Programme productions has been Baroque opera seria, more specifically Handel, with last year’s Alcina succeeding Rinaldo in 2014 and Xerxes in 2015.

Full-throated Cockerel at Santa Fe

A tale of a lazy, befuddled world leader that ‘has no clothes on’ and his two dimwit sons, hmmmm, what does that remind me of. . .?

Santa Fe’s Trippy Handel

If you don’t like a given moment in Santa Fe Opera’s staging of Alcina, well, just like the volatile mountain weather, wait two minutes and it will surely change.

Santa Fe’s Crowd-Pleasing Strauss

With Die Fledermaus’ thrice familiar overture still lingering in our ears, it didn’t take long for the assault of hijinks to reduce the audience into guffaws of delight.

Santa Fe: Mad for Lucia

If there is any practitioner currently singing the punishing title role of Lucia di Lammermoor better than Brenda Rae, I am hard-pressed to name her.

Janáček's The Cunning Little Vixen at Grimeborn

Janáček’s The Cunning Little Vixen can be a difficult opera to stage, despite its charm and simplicity. In part it is a good, old-fashioned morality tale about the relationships between humans and animals, and between themselves, but Janáček doesn’t use a sledgehammer to make this point. It is easy for many productions to fall into parody, and many have done, and it is a tribute to The Opera Company’s staging of this work at the Arcola Theatre that they narrowly avoided this pitfall.

Handel's Israel in Egypt at the Proms: William Christie and the OAE

For all its extreme popularity with choirs, Handel’s oratorio Israel in Egypt is a somewhat problematic work; the scarcity of solos makes hiring professional soloists an extravagant expense, and the standard version of the work starts oddly with a tenor recitative. If we return to the work's history then these issues are put into context, and this is what William Christie did for the performance of Handel’s Israel in Egypt at the BBC Proms at the Royal Albert Hall on Tuesday 1 August 2017.

Sirens and Scheherazade: Prom 18

From Monteverdi’s Il ritorno d'Ulisse in patria, to Bruch’s choral-orchestral Odysseus, to Fauré’s Penelope, countless compositions have taken their inspiration from Homer’s Odyssey, perhaps not surprisingly given Homer’s emphasis on the power of music in the Greek world.

A new La clemenza di Tito at Glyndebourne

Big birds are looming large at Glyndebourne this year. After Juno’s Peacock, which scooped up the suicidal Hipermestra, Chris Guth’s La clemenza di Tito offers us a huge soaring magpie, symbolic of Tito’s release from the chains of responsibility in Imperial Rome.

Prom 9: Fidelio lives by its Florestan

The last time Beethoven’s sole opera, Fidelio, was performed at the Proms, in 2009, Daniel Barenboim was making a somewhat belated London opera debut with his West-Eastern Divan Orchestra.

The Merchant of Venice: WNO at Covent Garden

In Out of Africa, her account of her Kenyan life, Karen Blixen relates an anecdote, ‘Farah and The Merchant of Venice’. When Blixen told Farah Aden, her Somali butler, the story of Shakespeare’s play, he was disappointed and surprised by the denouement: surely, he argued, the Jew Shylock could have succeeded in his bond if he had used a red-hot knife? As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions.

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

McVicar’s Enchanting but Caliginous Rigoletto in Castle Olavinlinna at Savonlinna Opera Festival

David McVicar’s thrilling take on Verdi’s Rigoletto premiered as the first international production of this Summer’s Savonlinna Opera Festival. The scouts for the festival made the smart decision to let McVicar adapt his 2001 Covent Garden staging to the unique locale of Castle Olavinlinna.

Jette Parker Young Artists Summer Performance at Covent Garden

The end of the ROH’s summer season was marked as usual by the Jette Parker Young Artists Summer Performance but this year’s showcase was a little lacklustre at times.

OPERA TODAY ARCHIVES »

Performances

Barbara Dobrzanska as Tosca [Photo courtesy of Badisches Staatstheater Karlsruhe]
15 Dec 2010

Karlsruhe Tosca: Guns ‘n’ Jesus

Badisches Staastheater’s production of Tosca starts off with a bang.

Giacomo Puccini: Tosca

Floria Tosca: Barbara Dobrzanska; Mario Cavaradossi: Keith Ikaia-Purdy; Scarpia: Stefan Stoll; Sacristan: Ulrich Schneider; Cesare Angelotti: Luiz Molz; Spoletta: Hans-Jörg Weinschenk; Sciarrone: Alexander Huck; Shepherd’s Voice: Őzgecan Gençer. Conductor: Jochem Hochstenbach. Director: John Dew. Set: Heinz Balthes. Costumes: Jose Manuel Vasquez. Lights: Gerd Meier. Chorus Master: Ulrich Wagner. Children’s Chorus: Hans-Jörg Kalmbach.

Above: Barbara Dobrzanska as Tosca [Photo courtesy of Badisches Staatstheater Karlsruhe]

 

Literally.

A cardinal’s face appears upstage in the skylight hole of a tromp l’oeil baroque church cupola and several men are lined up on a slightly elevated platform (just a step up), facing him upstage. Then…gunshots ring out and the men fall dead to the ground. And the famous opening chords ring out as a drop cuts off the sight of their corpses.

Bear with me here, and trust me as I say if this is perhaps not the Tosca of your dreams, nor does it turn out to be the Tosca of your worst nightmares. There is much to recommend in the pared down scenic approach. If you reveled in the excesses of Zeffirelli’s Met-ravaganza, stay far away from this one, because Heinz Balthes’s church scene is largely played “in one” in front of the above mentioned drop. Panels eventually part to reveal multiple Mylar-mirrored images of the Virgin (that Cavaradossi never touches with a paint brush), but somehow the imagery is apt, handsome…even honest.

There is no visible gate to the side chapel where Angelotti hides, only a statue of Mary down left that remains there throughout. Down right is a…well…we’ll get to that later. John Dew’s direction is full of quirks, most of them fresh, some of them downright frech, all of them (save one) uncommonly intriguing. Our diva and the tenor are playfully frisky and ardent to the point that they actually spend some time lounging about on the floor of the chapel! (Honey, don’t you worry about kissing him in front of the Madonna when you were pressing against him on the tiles!)

Arguably the most sensational innovation was having Scarpia portrayed (are you seated?) as a cardinal of the church. Yes, you read it here. And well, think about it, why not? Highly placed civilians like a police chief could buy their way into position in the church, and within the context of today’s sexual misbehavior within the clergy, it added a whole extra Creep Factor to his lustful pursuit of the leading lady. Ewwwwwwwwww. Instead of merely attending the service of the Eucharist, Scarpia led it even as he plotted his sordid seduction. Double Eeeeeeeeeeeeew. In moments like these Mr. Dew provided a complex spontaneity to this Puccini War Horse that I no longer thought possible.

And Balthes’ simple sets focused the whole shebang right where it should be, on the characters. The Farnese Palace featured only a long banquet table and some doors, and that was all that was needed. What an effective cat and mouse pursuit was facilitated around that ample table. Jose Manuel Vasquez contrived vividly appropriate costumes, from the vibrant red of the cardinal’s cassock, to Tosca’s steely blue Act II satin gown, to her Norma Desmond white entrance dress with red turban and over-jacket. Gorgeously detailed, character-specific attire. Gerd Meier’s lighting was not called upon to do much more than area isolation and general washes but they were even, well colored, and for once, we saw the perfomers’ faces. And what performers they were! If you wanted you could pay ten times the ticket prices in New York or Vienna and still not see a cast this good.

tosca_3.gifKeith Ikaia-Purdy as Cavaradossi and Barbara Dobrzanska as Tosca [Photo by Jochen Klenk courtesy of Badisches Staatstheater Karlsruhe]

Barbara Dobrzanska is a local treasure who seems content to remain so, for she could conquer many an international house with her secure spinto soprano. I am not sure that I have heard anyone nail the role’s high notes with greater skill. They definitely rated a ten on the Thrill-O-Meter. Her middle and lower voice are uniform and seamless, and she never faltered in musical excellence or dramatic concentration. I did have the feeling that Ms. Dobrzanska is still somewhat feeling her way through this iconic role. There aren’t many parts that have more baggage than this one are there? I mean, to include the ghost of La Callas hovering over it. Barbara has all the skill sets in place, but as of yet there seemed to be too much control in a character than is explosive passion incarnate. Oddly, her least effective moment was probably Vissi d’arte. Oh it was exceedingly well sung, but it seemed almost an out of body experience for her. For sheer sound, stamina, and power, though, hers was a notable role assumption. And she looked as glamorous as I have ever seen her (although her gait could glide a bit more). Barbara Dobrzanska is already a very fine Tosca and as she internalizes it more, she can likely develop into one of the greats.

Keith Ikaia-Purdy was born to sing Cavaradossi, the vocal line fitting him like a glove and highlighting all his strengths. Although announced as indisposed, he called upon his solid technique to fill the house with idiomatic, heartfelt Puccinian vocalism of a very high standard indeed. His steely top notes can assuredly thrill with a ringing Vittoria and the like, but what sets him apart is his sensitivity to text and his ability to scale back his voice for nuanced phrasings. When he and his soprano got revved up in their duets, they were smokin’ and you knew you had come to the right address!

tosca_1.gifBarbara Dobrzanska as Tosca [Photo by Jochen Klenk courtesy of Badisches Staatstheater Karlsruhe]

Stefan Stoll was a fine foil as Scarpia, his solid, stentorian baritone fulfilling all of the demands of the part with none of the cliches. His Te Deum was memorable and a high point of the performance. His varied banter with Tosca was laden with sub-text, his character three-dimensional. Ulrich Schneider was a more sober Sacristan than is usual and while his virile baritone was pleasing to hear, the role lost some of the comic definition that usually enriches these scenes. Luiz Molz sang nicely as Angelotti but lacked that final bit of honest urgency. Hans-Jörg Weinschenk’s Spoletta and (especially) Alexander Huck’s Sciarrone were not the usual comprimario turns, but very well sung indeed with ringing tone -- welcome portrayals by two skilled performers. I somewhat missed the purity of a boy soprano as the Shepherd, but Őzgecan Gençer won me over with her sweet account of the Act III opening.

Conductor Jochem Hochstenbach had the band in good order, and the ensemble between stage and pit was commendable. There might have been a little more indulgence in give and take with the principles but the whole performance was tidy and stylistically sound. Hans-Jörg Kalmbach’s childrens’ chorus was notably well prepared.

The one mega-major-mucho miscalculation was alas, saved for last. First off (and this is not it), instead of jumping to her death, Tosca instead gets shot dead like the line-up of extras in the opening. You are thinking: “That’s not it????” Admit it. You are.

No, after her “different” demise, a statue of scourged Jesus that had been placed down right suddenly comes to life. Clad in what seems to be Depends, a diaphanous red cloak, and a crown of thorns out of Martha Stewart Living,our Lord sprints over to the corpse. This was undoubtedly meant to somehow be an avanti a Dio moment but really, the way the super flitted, it came off more: “Gurl, waddamaddawidyougetupoffadatfloorandrun!” Where was another bullet when you needed it…?

James Sohre

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):