Customer Reviews

Puccini - Tosca / Guleghina, Licitra, Nucci, Mariotti, Gavazzi, Parodi, Muti, La Scala

5 star:		(1)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

No matter what the naysayers have said, I absolutely loooved this performance. First of all let me say that the production was amazing. The sets are very grand in the Roman tradition. Luca Ronconi's abstract sets are brilliant and mirror the internal conflicts of the three principles. In addition, operatic productions tend to amount to little more than banal fare when interpreted in the same traditional way all the time. It is so refreshing to have different fresh voiced singers for these demanding roles. It is such a wonderful change to see a production without Domingo in it. Though talented, he's never been a particular favorite of mine. His voice always sounds tired, worn, and under pressure. I'm frankly tired of seeing him, he's in everything!!!! Salvatore Licitra sings Cavaradossi with simply brilliant tone, and phenomenal acting. The Scarpia of Leo Nucci is probably the most sadistic and terrifying portrayal I have seen since Tito Gobbi and Ruggiero Raimondi. His facial expressions are unbelievable!!!!! Finally, we have the Tosca of the formidable dramatic soprano Maria Guleghina, who simply shines in this role. She is the only current Tosca alongside Angela Gheorghiu and Daniela Dessi who is totally convincing vocally, physically, and dramatically. I believe Tosca requires both power and beauty. It is not enough just to have authoritative high notes, but also lush vocalism. Tosca cannot be done full justice by a soprano who squawks and screeches her way through the role. Guleghina's voice is simply gorgeous and full bodied like a finely aged wine. Her acting is well thought out and tightly controlled so that she doesn't portray Tosca as a selfish monster like so many singers do, but a decent human being beneath all the surface grandeur. Her Vissi D'arte is infused not only with power, but with an emotional pull that comes from the gut. Muti and the La Scala forces are equally brilliant!!!!!!Do yourself a favor and check out the Tosca of Daniela Dessi now on DVD, a first class artist with a hint of Callas thrown in for good measure!!!

Guleghina usually makes anything look good, but this time she had to suffer the worst sets and the worst stage direction I've ever seen in my life. The annoying skewed sets brought to mind a bad hangover, bent glasses, or my worst migraine. I found myself unable to ignore the tenor's exclusive attention to the promptor's box, and in spite of the nice voice and a passionate
situation,"Cavaradossi" never connected with "Tosca". (I longed for Tosca to sing "hey, I'm over here" while the prompter's box was being adored; learning one's role is a minimal requirement for praiseworthy performance, and even Pavorati was bad about that.) Finally, the last scene-a ridiculously long flight of stairs for Tosca to climb, with skirt hitched up and audience wondering if she would make it, to end the worst version of Tosca I've ever seen. Bummer.

I won't lie and claim this is the greatest Tosca ever filmed, but it isn't bad either. Riccardo Muti gets wonderful sound with the Teatro alla Scala orchestra. The costuming and scenery look very appropriate. In Scarpia's first scene, the sacristan, minor and major church officials, and the smoking incense will help you feel you're there inside a Napoleonic cathedral. Some may object to what has been called an asymmetrical stage, but the scenery in the cathedral and again in Scarpia's office is luxurious, dark and heavy, as many prefer it to be. The asymmetrical stage perhaps keeps the set from looking boxlike, so I don't really object to it.

I've always believed that for Tosca to succeed, it requires a Scarpia who oozes evil. Leo Nucci sings and acts well, but at least for me he wasn't as evil as I'd have preferred. Similarly, Salvatore Licitra (Cavaradossi) sings well, but his acting is not convincing. Maria Guleghina, as Tosca, sings and acts very well, but somehow I could never feel the essential love between Tosca and Cavaradossi.

Maybe we've all been spoiled by passionate Toscas like Hildegard Behrens and wicked, leering Scarpias like Cornell MacNeil. This is a very good production of Tosca. It just falls short of great