'Tosca' is my favourite Puccini opera and one of my favourite operas in general. The music is magnificent with timeless arias and one of the greatest Act 2's in opera (in music and drama), a powerful story and vivid characterisations including the iconic title character and one of opera's most complex yet irredeemably evil villains in Scarpia.
Directed by David McVicar, for me this was a very good production and the best HD Met production of the 2017-2018 season thus far, all four productions seen so far of the season have been of a high standard. Generally it is a powerful performance with enough tension, passion and poignancy, with hardly any problems but could have gone even further. Perhaps not the best or most emotionally complex productions of 'Tosca' but considering its troubled behind the scenes, with Zeljko Lucic replacing original Scarpia Bryn Terfel and Emmanuelle Villaume replacing Andris Nelsons and then disgraced James Levine as conductor, this is mighty impressive.
Occasionally, characterisation is slightly under-explored, in particular there could have been more of the diva-ish side of Tosca which was slightly lost amongst McVicar's very admirable emphasis on a more youthful Tosca. If the production is revived, as it deserves, and as she and Grigolo grow into their roles (Lucic is an experienced Scarpia) this will most likely grow as they get more comfortable.
There was also the odd out of sync moment between orchestra and singers, "E Lucevan E Le Stelle" being a notable example, and Vittorio Grigolo's singing, while hugely impressive in sound, is not very musical (exceptions being some beautiful soft singing in the Act 3 duet) and has a lot of unsubtle phrasing (particularly in his more exposed music).
Visually, the production is a handsome and elegant traditional one, with the sets modelled on the real life settings of each act with a touch of Expressionism in particularly Act 1. Tosca's dresses, particularly her Act 2 one, are truly sumptuous. The HD is both expansive and intimate. McVicar's direction has none of the distaste seen in the Luc Bondy Met production.
In fact his direction here is very intelligent if perhaps not innovative with compelling character interaction and bringing the best dramatically out of the singers by exploring a vast majority of what makes the characters so vivid. Tosca and Cavaradossi actually look as if they are in love and their chemistry is tender and passionate. Tosca and Scarpia's confrontation sears, if not quite explodes, in intensity, Scarpia here is snake-like incarnate but it is not taken to extremes. Act 3 was also quite moving, even when you know what is going to happen.
Musically, the production is more than solid. Like what was said with the 2013 Bondy revival, except much better musically and dramatically even though still bewildering, the orchestral playing is pretty outstanding, Puccini's score is so magnificent and the orchestra play it like they know it is. They are very well-rehearsed and together, in the passionate and intense moments they play with authority and the moments that call for pathos it is all understated and sensitive. The strings swell up beautifully without being too "glib" during Tosca's exit before "Te Deum" ("Va Tosca", even if you do miss the unforgettable moment in the 1976 film where Scarpia walks with Tosca out of the church holding hands). The instrumental highlight is the cello ensemble in Act 3 before "E Lucevan E Le Stelle", absolutely sublime and made me tear up. The chorus sound great as always and don't sound taxed at all in what is a particularly busy season for them. Emmanuelle Villaume's conducting, considering the circumstances, is truly impressive and one of the biggest strengths of the production. Sympathetic to the singers but giving the drama plenty of urgency and oomph.
Performances are of a very high standard, with a suitably befuddled and funny Sacristan, an oily Spoletta and a strongly sung Angelotti.
A good production of 'Tosca' needs three at least good singers/actors in the lead roles. The production provides that, especially the fearsome Scarpia of Zeljko Lucic, bringing out every dimension of the character, perhaps with not a whole lot of subtlety but he brings power and creepiness from his terrifying entrance and maintains it up to the suspenseful safe-conduct/murder scene. He sings with dark resonance and is a very musical performer as usual.
Sonya Yoncheva and Vittorio Grigolo are in role debuts and they on the most part come off very well, especially considering that they had never sung the full roles before and the troubled behind the scenes. Yoncheva in particular gives a vocally nuanced and deeply felt, in all aspects of the role, account of Tosca, her rendition of "Vissi D'Arte" is not one to forget. Grigolo has an attractive and unstrained tone and a ringing top register, despite a lack of musicianship, similarly he nails the ardour, defiance and pathos of Cavaradossi.
To conclude, very well done on the whole and far from shabby, though it could have gone even further. 8/10 Bethany Cox
Directed by David McVicar, for me this was a very good production and the best HD Met production of the 2017-2018 season thus far, all four productions seen so far of the season have been of a high standard. Generally it is a powerful performance with enough tension, passion and poignancy, with hardly any problems but could have gone even further. Perhaps not the best or most emotionally complex productions of 'Tosca' but considering its troubled behind the scenes, with Zeljko Lucic replacing original Scarpia Bryn Terfel and Emmanuelle Villaume replacing Andris Nelsons and then disgraced James Levine as conductor, this is mighty impressive.
Occasionally, characterisation is slightly under-explored, in particular there could have been more of the diva-ish side of Tosca which was slightly lost amongst McVicar's very admirable emphasis on a more youthful Tosca. If the production is revived, as it deserves, and as she and Grigolo grow into their roles (Lucic is an experienced Scarpia) this will most likely grow as they get more comfortable.
There was also the odd out of sync moment between orchestra and singers, "E Lucevan E Le Stelle" being a notable example, and Vittorio Grigolo's singing, while hugely impressive in sound, is not very musical (exceptions being some beautiful soft singing in the Act 3 duet) and has a lot of unsubtle phrasing (particularly in his more exposed music).
Visually, the production is a handsome and elegant traditional one, with the sets modelled on the real life settings of each act with a touch of Expressionism in particularly Act 1. Tosca's dresses, particularly her Act 2 one, are truly sumptuous. The HD is both expansive and intimate. McVicar's direction has none of the distaste seen in the Luc Bondy Met production.
In fact his direction here is very intelligent if perhaps not innovative with compelling character interaction and bringing the best dramatically out of the singers by exploring a vast majority of what makes the characters so vivid. Tosca and Cavaradossi actually look as if they are in love and their chemistry is tender and passionate. Tosca and Scarpia's confrontation sears, if not quite explodes, in intensity, Scarpia here is snake-like incarnate but it is not taken to extremes. Act 3 was also quite moving, even when you know what is going to happen.
Musically, the production is more than solid. Like what was said with the 2013 Bondy revival, except much better musically and dramatically even though still bewildering, the orchestral playing is pretty outstanding, Puccini's score is so magnificent and the orchestra play it like they know it is. They are very well-rehearsed and together, in the passionate and intense moments they play with authority and the moments that call for pathos it is all understated and sensitive. The strings swell up beautifully without being too "glib" during Tosca's exit before "Te Deum" ("Va Tosca", even if you do miss the unforgettable moment in the 1976 film where Scarpia walks with Tosca out of the church holding hands). The instrumental highlight is the cello ensemble in Act 3 before "E Lucevan E Le Stelle", absolutely sublime and made me tear up. The chorus sound great as always and don't sound taxed at all in what is a particularly busy season for them. Emmanuelle Villaume's conducting, considering the circumstances, is truly impressive and one of the biggest strengths of the production. Sympathetic to the singers but giving the drama plenty of urgency and oomph.
Performances are of a very high standard, with a suitably befuddled and funny Sacristan, an oily Spoletta and a strongly sung Angelotti.
A good production of 'Tosca' needs three at least good singers/actors in the lead roles. The production provides that, especially the fearsome Scarpia of Zeljko Lucic, bringing out every dimension of the character, perhaps with not a whole lot of subtlety but he brings power and creepiness from his terrifying entrance and maintains it up to the suspenseful safe-conduct/murder scene. He sings with dark resonance and is a very musical performer as usual.
Sonya Yoncheva and Vittorio Grigolo are in role debuts and they on the most part come off very well, especially considering that they had never sung the full roles before and the troubled behind the scenes. Yoncheva in particular gives a vocally nuanced and deeply felt, in all aspects of the role, account of Tosca, her rendition of "Vissi D'Arte" is not one to forget. Grigolo has an attractive and unstrained tone and a ringing top register, despite a lack of musicianship, similarly he nails the ardour, defiance and pathos of Cavaradossi.
To conclude, very well done on the whole and far from shabby, though it could have gone even further. 8/10 Bethany Cox
