Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The 2019 Jette Parker Young Artists Summer Performance

This year’s Jette Parker Young Artists Summer Performance offered a veritable operatic smörgåsbord, presenting sizable excerpts from operas ranging from Gluck to Saint-Saëns, from Mozart to Debussy, by way of some Italian masterpieces, courtesy of Rossini and Verdi.

Cilea's L'arlesiana at Opera Holland Park

In a rank order of suicidal depressives, Federico - the Provençal peasant besotted with ‘the woman from Arles’, L’arlesiana, who yearns to break free from his mother’s claustrophobic grasp, who seeks solace from betrayal and disillusionment in the arms of a patient childhood sweetheart, but who is ultimately broken by deluded dreams and unrequited passion - would surely give many a Thomas Hardy protagonist a run for their money.

Prom 1: Karina Canellakis makes history on the opening night of the Proms 2019

The young American conductor Karina Canellakis made history as the first woman to conduct the First Night of the Proms last night (19 July 2019) as she conducted the BBC Singers, BBC Symphony Chorus and BBC Symphony Orchestra at the Royal Albert Hall with soloists Asmik Grigorian (soprano), Jennifer Johnston (mezzo-soprano), Ladislav Elgr (tenor), Jan Martiník (bass) and Peter Holder (organ) in Zosha Di Castri's Long is the Journey, Short Is the Memory (the world premiere of a BBC commission), Antonin Dvořák’s The Golden Spinning Wheel and Leoš Janáček’s Glagolitic Mass.

Barbe & Doucet's new production of Die Zauberflöte at Glyndebourne

No one would pretend that Emanuel Schikaneder’s libretto for Mozart’s Die Zauberflöte would go down well with the #MeToo generation. Or with first, second or third wave feminists for that matter.

Three Chamber Operas at the Aix Festival

Along with the celestial Mozart Requiem, a doomed Tosca and a gloriously witty Mahagonny the Aix Festival’s new artistic director Pierre Audi regaled us with three chamber operas — the premiere of a brilliant Les Mille Endormis, the technically playful Blank Out (on a turgid subject), and a heavy-duty Jakob Lenz.

Laurent Pelly's production of La Fille du régiment returns to Covent Garden

French soprano Sabine Devieilhe seems to find feisty adolescence a neat fit. I first encountered her when she assumed the role of a pill-popping nightclubbing ‘Beauty’ - raced from ecstasy-induced wonder to emergency ward - when I reviewed the DVD of Krzysztof Warlikowski’s production of Handel’s Il trionfo del Tempo e del Disinganno at Aix-en-Provence in 2016.

The Rise and Fall of the City of Mahagonny in Aix

Make no mistake, this is about you! Jim laid-out dead on the stage floor, conductor Esa-Pekka Salonen brought his very loud orchestra (London’s Philharmonia) to an abrupt halt. Black out. The maestro then turned his spotlighted face to confront us and he held his stare. There was no mistake, the music was about us.

Mozart's Travels: Classical Opera and The Mozartists at Wigmore Hall

There was a full house at Wigmore Hall for Classical Opera’s/The Mozartists’ final concert of the 2018-19 season: a musical paysage which chartered, largely chronologically, Mozart’s youthful travels from London to The Hague, on to Paris, then Rome, concluding - following stop-overs in European cultural cities such as Munich and Vienna - with an arrival at his final destination, Prague.

Tosca in Aix

From the sublime — the Mozart Requiem — to the ridiculous, namely stage director Christophe Honoré's Tosca. A ridiculous waste of operatic resources.

A terrific, and terrifying, The Turn of the Screw at Garsington

One might describe Christopher Oram’s set for Louisa Muller’s new production of The Turn of the Screw at Garsington as ‘shabby chic’ … if it wasn’t so sinister.

Mozart Requiem in Aix

Pierre Audi, now the directeur général of the Festival d’Aix as well as the artistic director of New York City’s Park Avenue Armory opens a new era for this distinguished opera festival in the south of France with a new work by the Festival’s signature composer, Wolfgang Amadeus Mozart.

A Rachmaninov Drama at Middle Temple Hall

It is Rachmaninov’s major works for orchestra - the Second and Third Piano Concertos, the Rhapsody on a Theme of Paganini, the Symphonic Dances - alongside the All-Night Vespers and the music for solo piano, which have earned the composer a permanent place in the concert repertoire today.

Fun, Frothy, and Frivolous: L’elisir d’amore at Las Vegas

There are a dizzying array of choices for music entertainment in Las Vegas ranging from Celine Dion and Cher to Paul McCartney and Aerosmith. Admittedly, these performers are a far cry from opera, but the point is that Las Vegas residents have many options when it comes to live music.

McVicar's production of Mozart's Le nozze di Figaro returns to the Royal Opera House

David McVicar's production of Mozart's Le nozze di Figaro at the Royal Opera House, Covent Garden, has been a remarkable success since it debuted in 2006. Set with the Count of Almaviva's fearfully grand household in 1830, McVicar's trick is to surround the principals by servants in a supra-naturalistic production which emphasises how privacy is at a premium.

The Cunning Little Vixen at the Barbican Hall

The presence of a large cast of ‘animals’ in Janáček’s The Cunning Little Vixen can encourage directors and designers to create costume-confections ranging from Disney-esque schmaltz to grim naturalism.

Barbe-Bleue in Lyon

Stage director Laurent Pelly is famed for his Offenbach stagings, above all others his masterful rendering of Les Contes d’Hoffmann as a nightmare. Mr. Pelly has staged eleven of Offenbach’s ninety-nine operettas over the years (coincidently this production of Barbe-Bleue is Mr. Pelly’s ninety-eighth opera staging).

The Princeton Festival Presents Nixon in China

The Princeton Festival has adopted a successful and sophisticated operatic programming strategy, whereby the annual opera alternates between a standard warhorse and a less known, more challenging work. Last year Princeton presented Puccini’s Madama Butterfly. This year the choice is Nixon in China by modern American composer John Adams, which opened before a nearly full house of appreciative listeners.

Humperdinck's Hansel and Gretel at Grange Park Opera

When Engelbert Humperdinck's sister, Adelheid Wette, wrote the libretto to Hansel and Gretel the idea of a poor family living in a hut near the woods, on the bread-line, would have had an element of realism to it despite the sentimental layers which Wette adds to the tale.

Handel’s Belshazzar at The Grange Festival

What a treat to see members of The Sixteen letting their hair down. This was no strait-laced post-concert knees-up, but a full on, drunken orgy at the court of the most hedonistic ruler in the Old Testament.

Don Giovanni in Paris

A brutalist Don Giovanni at the Palais Garnier, Belgian set designer Jan Versweyveld installed three huge, a vista raw cement towers that overwhelmed the Opéra Garnier’s Second Empire opulence. The eight principals faced off in a battle royale instigated by stage director Ivo van Hove. Conductor Philippe Jordan thrust the Mozart score into the depths of expressionistic conflict.

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):