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

Fortepiano Schubert : Wigmore Hall

The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

OPERA TODAY ARCHIVES »

Performances

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):