Anna Pirozzi / Umsagnir

Koskys rabenschwarze Deutung des Werks ist sieben Monate nach ihrer ersten Wien-Präsentation erneut an der Staatsoper zu erleben: Back to black.

Francisco Negrin directed this production. It looks quite utilitarian (one set, grey with doors and openings on each side and a fire constantly burning at the front of the stage), however Negrin does some very interesting things with the production. He focuses on Azucena the gypsy and her history, the overture and the first aria (Di due figli vivea padre beato) in which a brilliant Tagliavini’s Roberto recounts the sorry history in one corner of the stage.Ludovic Tézier is, in my opinion, one of the best baritones in the world, and in this performance he more than lives up to that reputation as the evil Count di Luna. Tézier doesn’t just ‘do’ evil though. Through his wonderful use of colour and his strong acting, he humanises the Count, making him more morally grey in a black and white world. His singing is just perfect, that range, that timbre – it was a genuine pleasure to listen. Maria Agresta as Leonora was again, fantastic, she gave it everything that she had. Her D’amor sull’ali rosee in particular was stunning, and brought the house down.This production is a brilliant exploration of the characters. Negrin adds depth and humanity to the performance, which is so rare and important for this opera in particular. The leading cast and chorus were brilliant, with some truly phenomenal, and at points, haunting, singing and acting, a must see.

The production, directed by Mario Pontiggia with sets and costumes by Francesco Zito, originated at the Teatro Massimo in Palermo. It is a stunningly beautiful, richly detailed re-creation of the three locations in Rome where the tragedy unfolds. The dresses of the heavily veiled women who crowded the church and Tosca’s second act gown and sparkling jewels, complete with tiara, were the most sumptuous of the costumes. When Tosca’s shadow suddenly appeared on the wall as she placed candles and a crucifix over Scarpia’s body, the man sitting next to me shuddered. It is of such details that memorable operatic performances are made. I have heard Marcello Álvarez many times, but never experienced him performing with such carefree abandon. Sleeker these days, he emanated a youthful energy but, more importantly, he made the audience see Tosca through his eyes: passionate, jealous and alluring. His Cavaradossi was vocally and dramatically impetuous and daring; as to the former, he may be throwing caution to the wind, but the result is thrilling. Ambrogio Maestri’s Scarpia can only be described as massive in temperament, voice and person, yet there was a delicacy to his performance. His Scarpia was a connoisseur of cruelty and capable of expressing it in the most subtle of manners, unless more drastic measures were needed. Oren had missed the first four performances of the run due to health reasons, but he was in fine form for these two. His verismo is the stuff of raw meat being thrown to the lions at one end of the spectrum and champagne at the other. His broadest musical brush strokes, as well as his most sensitive shadings, came from the orchestra and chorus, who responded brilliantly to the frantic beating of his baton and grunts and shouts that could be heard throughout the house. All of Rome may have trembled before Scarpia, but Oren can make the earth move.

Anche la quinta e ultima recita di Turandot si avvia verso il tutto esaurito. La fiaba musicale per eccellenza, con la ricca tavolozza orchestrale di Puccini, rivive all’Arena di Verona con immagini da sogno e un cast di prestigio: a cominciare dalla protagonista Elena Pankratova, soprano russo che debutta in Anfiteatro come principessa di gelo dopo i consensi raccolti in tutto il mondo nel repertorio drammatico, da Wagner a Bayreuth allo Strauss di Vienna, Berlino, Londra.

This is especially true during concert performances when we realise how significant they are vocally and dramatically to an opera. There were three ear-catching vignettes from Giuseppe Esposito as the Innkeeper in Act I,