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2Uzbekistani tenor Mavlyanov made his Royal Opera debut tonight as Cavaradossi with no obvious show of nerves: his first aria Recondita Armonia was cool and composed, and his E lucevan le stelle in the final chapter displayed an impressive balance of tender warmth and burning passion. However, Frontali’s interpretation of the menacing Scarpia fell flat as the choral and orchestral forces were asked to save the grandeur of the Act 1 Finale, but his villainous affair with Tosca did revive his performance later on. A character of many faces, experienced soprano Echalaz embraced the melodramatic personality of Tosca in sublime fashion: from the opening jealousy-induced comedy and flirtatious dialogue with Cavaradossi to the breathtakingly poignant aria Vissi d’arte and graceful second act duets. Echalaz’s acting was as compelling as her voice, as she sealed Tosca’s tragic fate with a dignified leap from the walls of the Castel Sant’Angelo. Credit should also be given to the ROH Orchestra. Under the baton of Villaume, the orchestra provided a sensitive and equally passionate musical backdrop, from the blazing opening chords, the thunderous string unison force that marked the death of Scarpia, the graceful woodwind colours, the notable clarinet melody heartening Cavaradossi’s final act romanza and the strident forte brass in the catastrophic conclusion. The mix of rousing drama, inevitable tragedy and an opulent musical orchestration full of exquisite melodies, rich harmonies and textures left the capacity audience moved by Puccini’s operatic achievement.
The Exterminating Angel is an international co-production, and Tom Cairns's staging scored a hit at last summer's Salzburg Festival. It arrives at the Royal Opera House garnered with critical plaudits and was greeted by the Covent Garden audience with wild approval, so I feel duty-bound to join in. Almost. The composer's orchestrations are undeniably bold and scintillating, and he has the knack of tempering musical challenge with approachability.Christine Rice as the pianist sings with exemplary clarity and expression, whereas Amanda Echalaz as the hostess makes one grateful there are surtitles.There's some above-the-stave virtuosity from Audrey Luna as a high-flying, high-lying opera singer. In places she sounds uncannily like the Ondes Martenot , the electronic instrument of warbling soundwaves that Cynthia Millar plays from one of the side boxe.What exactly is the Exterminating Angel? Adès describes it as an 'absence', although it makes more sense to see it as the thief of free will. We, like the sheep who safely graze as the audience enters, go astray and follow each other blindly towards annihilation. As a parable for our time, that's chilling.
