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 Performances

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.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

OPERA TODAY ARCHIVES »

Performances

Angela Gheorghiu as Tosca and Massimo Giordano as Cavaradossi [Photo by Cory Weaver courtesy of San Francisco Opera]
16 Nov 2012

Tosca in San Francisco

Operatic train wreck in San Francisco, hopes crushed for 3000 opera-goers, impresario’s grand scheme derailed.

Tosca in San Francisco

A review by Michael Milenski

Above: Angela Gheorghiu as Tosca and Massimo Giordano as Cavaradossi

Photos by Cory Weaver courtesy of San Francisco Opera

 

Now that I’ve got your attention.

There were even advance whispers that something dramatic might happen. Well, no surprise given the cast of characters, character that is — Romanian soprano Angela Gheorghiu.

Huge anticipation was in the air for the American premiere of Mme. Gheorghiu’s Tosca, a role Opera Today’s London critic said she was born to play, the quote trumpeted all over San Francisco. Most of the world knows more about Mme. Gheorghiu marital dramas than it knows about her artistry. But luckily here in San Francisco we do know her charming Rondine and her touching Mimi as well. Adding all this up we were indeed prepped for a dynamite Tosca (after all maestro Luisotti was in the pit).

Angela Gheorghiu was born to play Tosca. The Floria Tosca that entered Sant’Andrea della valle exuded layers of histrionic complexity, her voice was soft, her presence lost, a fiery diva in a sanctuary where women are pure. Her duet with Cavaradossi was fraught with interior conflict that exploded from time to time in full voice, detailing movements of emotion that would prepare her spiritually for what we already knew she must do — in full voice — as the evening unfolded.

Nicola Luisotti drove his orchestra full throttle, the voice of operatic verismo, searching for a depth of histrionic orchestral tone, ignoring the forward dramatic thrust of the words themselves. Often an open conflict between the pit and the stage instigated by this maestro results in inspired music making, a duet of conductor and singer that is exponentially richer than voice alone. But famously la Gheorghiu avoids rehearsing, and perhaps this precipitated the musical error (an early entrance) that passed unnoticed by most (or was accepted as diva histrionics), but certainly unsettled this temperamental diva in performance.

Meanwhile stage director Jose Maria Condemi well exposed the machinations of Scarpia that would fulfill his lust for the actress Tosca. Italian baritone Roberto Frontali relished the role, making the predatory Baron less powerful and more insidious than we have usually seen in San Francisco and elsewhere, aided in no small part by the maestro who gave him huge volume and color to work with. Mr. Frontali has a sizable, not beautiful voice and the musical confidence to contend with the Luisotti pit.

15--Tosca.gifRoberto Frontali as Scarpia and Angela Gheorghiu as Tosca

Well, this leaves Cavaradossi, Massimo Giordano. Mr. Giordano is a flawed singer who has loud high notes that he only seems to effect if he attacks them from above. This places an accent where usually there would be a smooth line. While this mannerism could be used for dramatic effect it became obvious that this was central to his vocal technique. While it was jarring in the first act at least we hoped it might be just an amusing tenorial affectation, if used without taste or discretion.

Mo. Luisotti, Mr. Frontali, the San Francisco Opera Orchestra and Chorus erupted in a Te Deum that completely enveloped the War Memorial Opera House. The curtain fell, the audience roared, and the evening ended.

Not that the performance did not in fact continue. Mme. Gheorghiu pulled out, physically distressed (intestinal flu we were told), though the suspicion lingers that it was vocal distress, and certainly a large dose of emotional distress must be included. We waited while the cover singer, Melody Moore, was costumed. Mlle. Moore is a promising young singer who does not have the spinto capabilities demanded by the role. She was painfully ill-suited to follow the diva footsteps made by Mme. Gheorghiu in the first act, nor did she seem coached or rehearsed to do so. It is indeed strange that San Francisco Opera had not anticipated such an occurrence, hardly unexpected from la Gheorghiu.

Thus impresario’s David Gockley coup de theatre (not just one, but two Tosca divas) gone up in smoke.

Michael Milenski


Cast and Production

Floria Tosca Act I: Angela Gheorghiu; Floria Tosca Acts II and III: Melody Moore; Mario Cavaradossi: Massimo Giordano; Baron Scarpia: Roberto Frontali; Angelotti: Christian Van Horn; Spoletta: Joel Sorensen; Sacristan: Dale Travis; Sciarrone: Ao Li; Jailer: Ryan Kuster; Shepherd Boy: Etienne Julius Valdez. San Francisco Opera Orchestra and Chorus. Conductor: Nicola Luisotti; Stage Director: Jose Maria Condemi; Production Designer: Thierry Bosquet; Lighting Designer: Christopher Maravich. San Francisco War Memorial Opera House. November 15, 2012.

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):