Customer Reviews

Puccini: Tosca

5 star:		(10)
4 star:		(5)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

The word "divine" really comes close to describing this wonderful recording. All the artists here are in their glorious prime, their singing and acting is nothing short of sensational. Caballé's Tosca is literally "to die for" and José Carreras' Cavaradossi is a perfect match for her. I've heard many recordings and live performances of Tosca, but never have I heard anything like this. Their voices and emotions are almost unbelievably good, just pick any moment in the opera to see what I mean. The arias from this opera became their signature pieces, they sing them often in concerts and on other recording, but for the sheer glorious beauty of sound turn to this recording. I wholeheartedly agree with the reviewer below who boldly stated that this recording surpasses the famous Callas/Di Stefano set. While Caballé differs from Callas substantially in terms of vocal range and interpretation (you would want to hear both), Carreras sounds similar to Di Stafano, only stronger, prettier and more involved. The darker coloring of his voice adds a lot. He adds an interesting twist to his Cavaradossi - he acts strongly upon his emotions, yet realizing that he is a weapon in the hands of fate, whose arrival is announced by Angelotti (sang by Samuel Ramey, no less!). Unlike the typical, lost-in-dreams and even narcissistic Mario, he conveys the sense of inevitable fate brilliantly from the very beginning, as he paints the image of his beloved "Dammi i colori... Recognita Armonia."

Tosca is often sang by spinto sopranos (Marton, Scotto), but Caballé managed to defy this presumption. Her beautiful bel canto voice is able to convey the depth of Tosca's character - while she is obviously a "prima donna" in every sense, she allows passions to rule her life and dictate her actions, something a self-absorbed "diva" is normally not likely to do. Interestingly she is not afraid to allow a "break" into her voice for the powerful dramatic effect.

Wixell is a good, solid, evil Scarpia, even though I usually like to hear tougher, suave, darker-voiced Scarpias, such as the one of Tito Gobbi's, Ruggero Raimondi's (on the Karajan set), or Renato Bruson's. I think Scarpia should carry an air of seduction, his character is one of the most fascinating ones ever created; Act II is totally his right up to Tosca's "Vissi d'arte" and Wixell proves that he is up to the challenge.

Sir Colin Davis keeps action fast and gripping, after all, it should be a "little shocker." He would be a polar opposite to, say, Sinopoli or Karajan, who both like to emphasize the orchestral involvement and slow down the tempos quite a bit. Their sets are a "must hear" because they present "Tosca" under a completely different angle, which makes it only more interesting. One can't have too many interpretations of this magnificent opera. But this set should be definitely included in its top three recordings of this century. Philips has done an injustice to it by reducing it to the "Duo" series that omits the libretto and critical essays, but at the same time it created one irresistible deal.

When I first found this cd, I fretted a bit. It was not reviewed in my Penguin (1996) guide--and with these principals, alarm bells went off in my head. I decided to trust my educated instinct, however, and bought it anyway. I have been elated ever since. This recording is marvelous, spacious, beautiful--everything, in short, that a Puccini opera should be. Caballe, playing the heroine, sings with glorious passion and tone; Carreras' portrayal of Cavardossi is definitive in its power and style; and Ingvar Wixell puts forth a deliciously villainous Scarpia. Additionally, Sir Colin Davis evokes a fine performance from both the Chorus and Orchestra of the Royal Opera House. Instrumental playing is excellent, yet never overshadows the singing when it should not. This may be the best opera recording that I own; I even find it preferable to Decca's _La Boheme_ with Freni and Pavarotti.

Carreras is awesome in this recording, certainly better to my ears than DiStefano. Caballe is not as strong as Callas, but then again nobody ever will be. Carreras rendition of "E lucevan le stelle" takes my breath away every time I hear it. His young voice was something to hear and this is a prime example. He was ideal for this role.

If anyone ever required proof of Jose Carreras's claim to greatness, then this recording would surely suffice. Just 30 at the time, Carreras put his contemporaries to shame with this thrilling interpretation of Mario Cavaradossi. He is ably supported by Montserrat Caballe and Ingvar Wixell in the roles of Tosca and Scarpia, respectively, and the stirring conducting of Colin Davis. But it is Carreras who steals the show with his irresistible combination of vocal beauty and ardent delivery. Not for him the nasal, covered tone of a Domingo, or the blandness of a Pavarotti. This is the Cavaradossi that I imagine Puccini himself envisioned: headstrong, romantic and heroic, with both the voice and the commitment to drive an audience to distraction.

I suggest that first-time listeners head straight to Track 7, Disc One for an immediate example of what I'm talking about. The impassioned "Qual occhio al mondo" is beautiful beyond compare, and those familiar with the score will note Carreras's outstanding breath control - without any of the customary sacrificing of beauty in this supremely difficult passage. It's an astonishing moment, and no one - not even Carreras himself in his two subsequent recordings - comes close to emulating this moment of sheer radiant singing.

Elsewhere on the recording, Carreras is in wonderfully fresh form, with none of the vocal problems that would soon intrude on his singing. His top is secure, and his timbre ravishing. What he lacks in sheer subtlety in a couple of instances (O Dolci Mani comes to mind), he more than compensates for in terms of passion. And while it is true that his later recordings of the great aria, E Lucevan Le Stelle, featured a heightened appreciation for phrasing, I still prefer the brash but sensual young man of this first interpretation. (Do, however, check out Carreras's 1979 and 1988 recordings for Von Karajan and Tilson Thomas, respectively, for two very different performances that transcend the singer's somewhat diminished vocal resources.)

Among the other star performers, Caballe is an excellent Floria Tosca, easily conveying the jealousy and passion of her character. Occasionally, her top is a little strident for my ears, but she is memorable in her two duets with Carreras, and heartbreaking in her scenes with Ingvar Wixell. The latter is a most interesting Scarpia, with his Nordic timbre lending a particularly sinister edge to his portrayal of the evil Chief Of Police. I was not bothered by what some reviewers regarded as an inadequate-sized voice; on the contrary, Wixell more than rises to the challenges of his character's big three moments: the Te Deum in Act I and his two arias in Act II. His voice carries very well across Colin Davis's extremely loud orchestra, and his easy. lyrical upper register is in marked contrast to the constricted top of his more famous predecessor, Tito Gobbi. I found Wixell's performance thoroughly convincing, and in no way inferior to the portrayals of Gobbi, London, Milnes, Raimondi, et al.

Generously priced, and well recorded, this is my favourite Tosca, and the perfect starting point for all lovers of great voices.

This set is worthy on three accounts- Carreras, Caballe and Colin Davis. For musicianship, Caballe outshines every other singer of this role! and we haven't even mentioned The Instrument yet! A singer who relies on a histrionic interpretation of Floria Tosca does so at peril of her believability in this role. I've always felt Tosca to be an operatic character with more layers than are found by most purveyors of the role, certainly Montserrat Caballe applies her inborn musical intelligence in all the right places, creating a rare and dimensional character, shunning the inevitable tiredness of a merely excitable Tosca, as is often the case. People will go on about Callas, her Tosca. I am too little convinced by Callas' theatrical overload, too often does it come arrayed as recompense for vocal instability, if not inadequacy. With Caballe, the opposite approach is utilised; the character comes as much from fidelity of and toward the singing as it does from applied manners of theatricality, and is therefore more rewarding to a very large degree. Carreras still sang wickedly well at this point, his "E lucevan le stelle" is a clamorous thing! The over-arching beauty of this recording comes from the hands of conductor Colin Davis. I've not heard a more sympathetic reading from any conductor- it really is splendid! Make no mistake, this is an aristocratic rendering from top to bottom, only to have the humanity of the two leading singers cinch the deal! It's a unique and wonderful mix, Colin's exacting modernity against all that profane richness. Ramey's Angelotti is a miniature jewel, a real star turn. The singing is just wonderfully musical. And while that's rarely found in an opera recording, it really is essential for any lasting operatic testament.

First it must be understood that the real star of this recording in Sir Colin Davis. Never has Tosca sounded more wide open, vividly colored, and lavish as it does here. From the opening chords alone you can feel that you're in for a new type of reading where the orchestra seems almost like a living and breathing character. At times this produces a few negative results. For instance in Act II many times it's hard to concentrate on the singers because the orchestra draws so much attention. Despite that, this high level of playing and interpetation is utterly enjoyable.

Carreras's first of three Toscas may by his best Puccini recording. You can already hear the habits that would within three years start to wear his instrument, but he is in his prime here and this is singing of the highest order. In the more lyrical passages he is sweet and even of tone, and all of the climaxes have his distinctive juicy ring. This combined with his beautiful phrasing and dramatic intent make for one of the best Marios to date.

Caballe sounds pretty as usual and seems to have her head in the game for the most part. Unfortunately Tosca, especially in these settings, is just a few notches too heavy for her. She adds a little whip and bite to the tone to nail some nice high notes, but this also makes her sound unusually tight, and she can't quite fill out the more dramatic moments of Act II like a Tebaldi or Callas.

Wixell as well sounds and is a bit small for Scarpia. Many times he can't be heard well over the orchestra (not entirely his fault), and the wieght that he's adding sacrifices a hair or two of his usual vocal freedom. But his distinctive reedy tone combined with fine dramatic interpetation and musicianship make for at least a better than average Scarpia.

The secondary roles are all well handled by experienced pros, including Ann Murray as the pastor boy. All in all this is one of the better Toscas of the past few decades and a must have for any Carreras fan!

When singing is your prerogative, this is the Tosca to have. First and foremost, this is one of the best recordings of the partnership of Carreras and Caballe. Recorded before his unfortunate period of illness, Carreras sings with unbridled and passionate fervour. His voice bright and vibrant, he is Cavaradossi to the life - at times sensual, at others intense. Caballe too is perhaps the only Tosca that gives the impression that she is a diva. From her entrance, the mere name of "Mario" as called by her gives an indication of what is to be expected. The famous aria cannot be bettered than how Caballe climaxes by singing the entire phrase in a single breath. Ingvar Wixell snarls his way through Scarpia, and presents a different perspective. Sir Colin Davis conducts a most beautiful performance that seems effortless to the extent that the music seems to go by faster. A must buy for those who want Carreras as Cavaradossi and for Caballe fans.

All singers do their task sufficiently good. Montserrat Caballe is the best choice for Floria among the recordings made during the `70s &`80s (R. Scotto, K. Te Kanawa, K. Ricciarelli, M. Freni). Her rich, creamy voice (one of the most beautiful soprano voices indisputably) , her perfect breath control combined with those supreme legatos produce a very nice Tosca. However, even my beloved Montserrat cannot be compared with Renata Tebaldi's Tosca..Tebaldi is so grand and powerful, the ideal Tosca for me!

Jose Carreras is a deeply moving Mario (among the best) and he surely is in better shape here as some years later with K.Ricciarelli. I also like the rest of the cast who together with our main singers produce this very satisfying edition of Puccini's masterpiece.

This is a terrific Tosca at a great price. People new to opera question why all the fuss about Jose Carreras, I always put on this recording for his renditions of "Recondita armonia" and "E lucevan le stelle". The man possessed a glorious instrument at his peak. Monserrat Caballe's interpretation of the title role lacks the dramatic punch of Callas, Price, or Milanov but it's hard to imagine the role sung more beautifully. If there's a weakness to the cast, it's Ingvar Wixell's Scarpia--both Tito Gobbi on the EMI set and Leonard Warren on the RCA recording are far superior.

I love Puccini, who does not? Tosca is a great opera and, yes I admit I always thought that Callas, was the best Tosca, and Ramey the best Scarpia. But..now we have Vixell.And my friends he is not a Scarpia, HE IS SCARPIA.
In this record Caballe and Carreras are OK. They are not my favourite singers for this opera. I think they are not dramtic enough. Be careful, I said dramatic not affected. Tosca is Italian, she is a good catholic girl who has a liason with a painter. She is overeacting all the time and you have to express that. Cavaradossi is a galantuomo, a painter who enjoys life. So they have to sound like that.Callas was perfect for the role. Specially at the end of the 2nd act.
So maybe you are wondering why I rated 5. Simple . Vixell. He is seductive, evil, dark, pasionate. His voice is perfect for this carachter. When he sings " Bramo..la cosa bramata ..." is glorious. And he is the only one who can be heard above the orchestra. Unfortunately many of the reviewers are not agree with me. Well, I am sorry. but only for him this cd worths every penny, euro or any other currency