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Tosca from Giacomo Puccini

Reviews / Opera and Classical
from Quentin Lawrence

Grace and death

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The narrow, crucifix cross hovers over the Paris scene as well as the fate of the characters in this Tosca performed by Pierre Audi, which was taken over thirty times since its creation in 2014. Despite the regret, this Tosca works well, thanks to the incredible Anja Harteros.

Some people will regret not see richer and sovereign Toska, tonight we feel the talent of a great singer with a sweet tone, gentle and refined colors, with crystal highs. Anja Harteros, enormous, goes with the perfection of the narrow ridge between constant crushing and murmuring jealousy, between painful sweetness and criminal anger. It is the ease and nature of the German soprano who is striking: this godly and vengeful Toska is a woman of cracks and honor. Obviously I would like to receive an answer from the other star expected, his friend forever, Jonas Kaufman, prevented by a constant cough. The complexity with his replacement is obviously less obvious.

Grigol's style is now known to the Paris public. King of accent, very well-made lines and perfect projection, the Italian tenor again used this Toska recipe that works. Expressive and involved, Vittorio Grigolo, a very good actor, returns Mario Kavadoshi tortured, wounded, passionate … Stretched in the first act, the voice that is strong, softens. If the vocal technique is difficult to talk, its sense of nuance seems less obvious: the use of strong ones almost turns into abuse. The anticipated "E lucevan the stelle", launched on a sweet recitation full of promises ends in an excessive lyric passion.

Zeljko Lucic distinguished himself with the role of libidine and perverse Scarpia, animated by his bodily temptation, as with his undisturbed pleasure, seeing the suffering is eating to his fellow countrymen. As a tormentor and inhumane police chief, this Scarpia shows a real arrogance and tireless taste for the evil that works. The voice is still leveled below, tired. The tone is deep and the line is fairly straightforward, but the Serbian baritone lacks strength: we regret that, apart from seeing each other, power really can not take place.

Despite the slightly shy beginnings, we appreciate the rich depth of bass Sava Vemic in Caesar Angelotti. Other supporting roles are well-reserved: Nicolas Cavalias as a co-star, Rodolph Briand in Spoleta, Igor Gnidis in Xiaarone, and Christian Rodriguez Mongjundou as a prisoner.

In the pit, Dan Ettinger shows a precise and intelligent direction. His mastery and his adaptability to the pace of the stage are remarkable, he puts the orchestra of the national operated Paris into the right place and takes out some beautiful colors. Thanks to a calm blow, the Israeli leader breathes a deep breath of this music, and offers sacred colors particularly suitable.

As part of these musical pleasures, the layout of Pierre Audi offers literally reading libretto and a classic approach, although the religious angle is preferred by politics. Three parts, three sets (see WT 5316), and a red thread – a repetitive color, a symbol of death – this huge cross, located on the ground before hovering and threatening the scene. The sober, but sleek images give a lot of sense to the work in the production that finally works pretty well. However, we must be satisfied with a rather poor set of actors, arranged and often artificially: arms are spreading to be bitter, bundling to love one another, a sharp turn of heels to insult …

Extinguished by timeless music, we are closing our eyes on these grandiose scenes, such as Te Team and the Pope's arrival at the myth at the end of the first part and, of course, this slow march from Tosca to the light of the dead … Harteros in Tosca increases the drama , let's see, hear and enjoy!

Tosca by Giacomo Puccini, the libretto by Giuseppe Giacca and Luigi Ilica after Victoria Sardou. The orchestra and the hearts of the National Opera in Paris, conductor Dan Ettinger, the "Here De Sena" master and the Children's Choir of the Paris National Opera, the choir director José Luis Basso, held the Pierre

Audi. Christoph Hetzer set, costumes of Robbie Duiman, Jean Kalman light.

With Anja Hatereros, Vittorio Grigolo, Zeljko Lucic, Sava Vemic, Nikola Cavalier, Rodolph Brian, Igor Gnidij, Christian Rodrigu Mundzundou.

Opéra National de Paris – Bastille, 16, 22, 25 and 29 May, at 19:30; May 19 at 14:30 1, 5, 8, 11, 14, 19 June at 19.30; June 23 at 14:30.

08 92 89 90 90 – +33 1 72 29 35 35 –

© Svetlana Lobof

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