Varasemate toodangu ülevaated
4“Ramë Lahaj, joven, guapo y de aspecto noble, es el perfecto Alfredo. Su hermoso color de voz y su musicalidad nos hace olvidar como a veces queda algo ahogado e incluso un poco fuera de tono en las notas finales. En ocasiones incluso da la sensación de traspasar la cuarta pared convirtiendo sus arias en recitales cantando directamente al público.”
“Déjà remarqué in loco dans Lucia di Lammermoor en 2016, Rame Lahaj possède ce « Giovanile ardore » qui caractérise son personnage. Le ténor kosovar campe un Alfredo bouillant et passionné. La voix a gagné en ampleur, et l’aigu en assurance, comme en témoigne le contre-ut tenu qui conclut sa cabalette. Le timbre est solaire et la ligne de chant se pare quand il faut de subtiles demi-teintes.”
The second act is the real challenge for Scarpia, and Tézier was truly despicable here as his performance was fueled by believable emotions that provided psychological layers to the character rather than just playing up a clichéd monster as many other interpreters do. His Scarpia was also impressive and vocally impeccable. Of the rest of the characters in the opera, I want to single out Carlo Bosi’s Spoleta; Bosi possesses a rich tenor with a fair vibrato and a frightening personification of the role. Pierre Audi’s production is evocative and meaningful, exploring the power and control of the church and political order with a giant crucifix present in every Act. The first two acts are abstractions of the church of Sant’Andrea delle Valle and of Scarpia’s study, with a dramatic but effective use of lighting (by Jean Calman) that contrasts light and dark by playing with a black curtain and a cyclorama at the back of the scene. Most impressive was the clever dramatic setting of Tosca’s aria “Vissi d’arte” as Scarpia leaves Tosca alone after having given her a crucifix that she sings to.Carlo Montanaro conducted the orchestra of Paris Opera, giving a passionate reading of the score, but measuring the drama to avoid excessive mannerisms usually done in Verismo repertoire. In this particular approach, there was a perfect communion between the conductor and the singers, as if Montanaro were breathing with them during the lyrical legato moments. The orchestra and the chorus were undoubtedly at their best throughout. Ultimately, this was an amazing revival of the Paris Opera’s production of “Tosca,” with fine debuts by Agresta and Fabiano providing the main highlights.
The cast and décor ostensibly represent an elderly care facility, although the bleakness and lack of privacy are more reminiscent of a detention center. Iphigenia (convincingly acted and sung by Tara Erraught), condemned by her father Agamemnon, has been rescued by Diana (Marianne Croux) and serves the goddess as a priestess. Her brother Orestes (Jarrett Ott), whom Iphigenia believes to be deceased, arrives in Tauris with his friend Pylade (Juilen Behr) in tow. Although the titular heroine fails to recognize her brother initially, she is drawn to the newcomer and attempts to rescue him when he receives a death sentence. Iphigenia only learns of Orestes’ true identity in the final moments before his execution, recognizing him in extremis. She fails to carry out her brother’s punishment, angering the King of Sythia (Jean-François Lapointe). He condemns both siblings until the goddess Diana swoops in to save the day. In Warlikowski’s production, several timelines intermingle: the traditional narrative is recalled in flashbacks sung center stage by the main cast, while the presence of Iphigenia’s older self (non-singing role performed by Agata Buzek) is lost within her recollections at the nursing home, still exercising the nervous gestural ticks that her younger self displayed. The stark setting of the care facility morphs into a labyrinthian internal landscape of dreams and memories while the stage’s architectural machinations adapt accordingly. Glass wall panes and video projections provide depth and additional chambers, punctuated by a giant mirror scrim that opens the performance and reappears later, transforming the stage into a veritable memory palace. Clad in a shimmering gold skirt suit, both Iphigenias cut a tragic figure à la Jackie-O. But there is also enough bling and benevolence to conjure up Dolly Parton. Orestes blows in like James Dean, lending a hint of fragile rebellion to the role, complete with dark sunglasses. The coordination between reflective costume surfaces and sets is no accident, both were created by Malgorzata Szczęśniak. The successful production design is at the heart of this staging, providing an interactive schema. It shines a reflective light on both audiences and cast, questioning the hauntology of traumatic memory. Are some things best left forgotten?
