Past Production Reviews
4Gemma Morsley’s waspy yet vulnerable Marcellina is an absolute delight, getting right to the heart of the role with her finely-honed mezzo (not to mention some fabulous dancing, handbag clutched and ready).
Davide Tuscano quale Nemorino ha mostrato un timbro dal colore interessante e ricco di sfumature ed un’attenzione al ruolo sempre costante e misurata; è difficile trovare in scena un felice ed uguale equilibrio tra i due aspetti (ingenuità e sensibilità) che rendono il personaggio quasi un esempio di eroe romantico ante litteram, a cui il giovane artista non ha fatto mancare un’espressività, vocale e scenica, sempre concentrata ed empatica.
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.
Particolarmente atteso nella sua città natale, Andrea Carè ha affrontato con sicurezza il ruolo di Don José offrendone un’interpretazione convincente nel delineare una figura i cui rassicuranti valori etici e morali sono fatalmente messi alla prova dall’incontro con una passione autentica e travolgente. Un percorso di caduta nell’abisso dei sentimenti umani nel quale il tenore ha avuto modo di palesare la propria solidità tecnica e l’attenzione alla resa emotiva del personaggio. Carè è stato particolarmente sensibile alle sfumature del canto e nella resa degli accenti melanconici del giovane caporale dei Dragoni (soprattutto nel duetto del primo atto con Micaela). Oltre a ciò, il tenore ha sfoggiato un’emissione sempre fluida, ben modulata nelle mezze voci (come è avvenuto per “La fleur que tu m’avais jetée”) e correttamente focosa nel drammatico confronto finale con la protagonista.
