Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.

La Vestale, La Monnaie, Bruxelles

In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.

Shattering Madama Butterfly Stockholm

An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera

Theodora, Théâtre des Champs-Élysées

Handel’s genius is central focus to the new staging of Handel’s oratorio Theodora at Paris' Théâtre des Champs-Élysées.

Bostridge Sings Handel

1985 must have been a good year for founding a musical ensemble, or festival or organisation, which would have longevity.



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

Tosca (Postscript) in San Francisco

Extraordinary diva, Angela Gheorghiu pulled out of opening night after act one. It was news when she made it to the end of the second performance. Here is what happened at the third performance.

Tosca (Postscript) in San Francisco

A review by Michael Milenski

Above: Angela Gheorghiu as Tosca and Massimo Giordano as Cavaradossi [Photo by Cory Weaver courtesy of San Francisco Opera]


First and foremost Angela Gheorghiu is a diva. She holds the stage by the sheer force of her personality, like perhaps no other contemporary diva. The excitement she brought to the stage with her entrance was indeed palpable, and she played the first act softly, alternating coyness with temperament, interspersing a forceful high note from time to time, even a few entire phrases rang out. There was no doubt that this diva, Tosca, was high maintenance, that she was trouble. A diva who would in actual fact engage a powerful man — Scarpia. Her first act was a masterpiece, worth the price of admission.

Italian baritone Roberto Frontali however plays an insidious rather than a powerful Scarpia. In the first act his underhanded tactics to track Cavaradossi and entrap Tosca expose his truly perverse psyche. He begins the second act publicly proclaiming his consuming sadism. Downstage center, to all of us. No secrets.

But as the second act progressed there was a personality change in both Tosca and Scarpia. Tosca shed her temperament revealing a weak, vulnerable woman who had lived for her art, turning to and walking toward Scarpia, making her aria, softly, a pitiable confession, submitting to her tormentor. Scarpia however had become uncertain of his sadistic tools, his threats were absorbed into the retro scenery. He became palpably impotent. Mme. Gheorghiu, Tosca, the trapped victim, now became sly. Softly and perversely she was the insidious tormenter. You know what happened.

Conductor Nicola Luisotti played along, allowing an unusual orchestra continuum to percolate under this act that seemed nearly parlato (spoken) rather than sung. A highly unusual Tosca, Act II. Disquieting.

The third act is the Cavaradossi act, tenor Massimo Giordano brought out the turgid in Maestro Luisottii — huge, round orchestral tones that went nowhere. Giordano, who did made real tenorial noise upon rare occasion, nailed his high notes strangely, scooping up with a jump of a minor third. He evoked scattered applause for what is usually a show-stopper (e lucevan le stelle). La Gheorghiu, Tosca, entered, muttered her instructions softly, deftly acting non-stop (where was the singing?). You know what happened.

Tosca, la Gheorghiu, fled up the parapet, forgetting to shed her cloak and throw it at her pursuers who pretended she did and fell anyway. Then there was a very strange moment — you felt that Angela really did not want do that nasty jump. But she had to.

If you want a magnificent Tosca go to that of verismo diva Patricia Racette, if you want a gourmet, weird Tosca that of la Gheorghiu may fill the bill.

Michael Milenski

Cast and Production

Floria Tosca Act I: Angela Gheorghiu: Floria Tosca; 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 21, 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):