December 19, 2010: Tosca in Oslo

2010-12-19 Tosca (G. Puccini), Den Norske Opera & Ballett

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Miroslav Dvorsky
Scarpia = Greer Grimsley
Sakristanen = Ketil Hugaas
Angelotti = Yngve André Søberg
Sciarrone = Andreas Franzén
Spoletta = David Fielder
Fangevokter = Øystein Skre
Gjetergutt = Henrik Enger Holm
Dommer = Steinar Zahl
Roberti = Øivind Solberg

John Helmer Fiore, conductor

Regie - Paul Curran
Scenography / costumes - Kevin Knight
Light design - David Jacques
Cooperation with Canadian Opera Company

Music Giacomo Puccini
Libretto: Giuseppe Giacosa og Luici Illica

Cooperation with Canadian Opera Company.

This production premiered by Canadian Opera Company 26. January 2008, Norwegian National Opera 26. August 2010.

On December 19th, 2010 it was matinee at 1500. It was Maria Guleghina first time as Tosca at Norwegian National Opera, Oslo. It was the fourth time for me since I have earlier seen her as Tosca at Vienna State Opera, Deutsche Oper Berlin and Opernhaus Zurich.

I loved the production by regisseur Paul Curran. It was as historical as an opera can be. I sat on right so I could not seen the whole stage but that did not prevent me from enjoying this Tosca. Paul Curran used minor characters and statists to liven up things but never at the expense of the opera.

Maria Guleghina was the perfect Tosca even though she sometimes sang too quietly but I always felt she did it to be true to the person she acted. Miroslav Dvorsky sang and acted a fine Cavaradossi. It was sad that the conductor only stopped the music for applause for the aria in the first act and not for the 3rd act bacause his E lucevan le stelle was really great where Recondita armornia he was more like he was still warming up a bit. The audience really yearned to applaud so it applauded Maria Guleghina and Miroslav Dvorsky in the middle of their 3rd act duet.

The applause for Recondita armonia seemed to be an automatic response to the conductor pausing the orchestra. The act 1 duet applause came more from the heart of the audience. But the applause after Vissi d'arte had the feeling of the audience going wild for Maria Guleghina, and the applause after the opera was "endless".

Greer Grimsley was Baron Scarpia. Just perfect. Maybe too perfect. Or maybe I have seen too many Tosca performance. The chorus, orchestra, statists and the other singers were also wonderful. Paul Curran must be so proud. Maria Guleghina clearly loved the production and Paul Curran.

OD Travel + Photos

Original blog post

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

December 19, 2006: Agnes Baltsa in Vienna

2006-12-19 Opera Concert, Konzerthaus Wien

Agnes Baltsa, mezzo
Münchner Symphoniker
Nikos Athinäos, conductor

Agnes Baltsa Gala-Konzert
Dienstag, 19. Dezember 2006, 19:30 Uhr Großer Saal

Agnes Baltsa, Mezzosopran
Dirigent: Nikos Athinäos
Münchner Symphoniker


Veranstalter
Stimmen der Welt Konzerte GmbH.

1:
Verdi: Ouvertüre, „La forza del destino“

Verdi: La canzone del velo, „Don Carlo“

Massenet: Prelude1. Akt, „Werther“
Massenet: Va! Laisse couler mes larmes, „Werther“

Bizet: Entr'acte Akt 4, „Carmen“
Bizet: Carreau, pique... la mort!, „Carmen“

Berlioz: Ouvertüre, „Les Troyens“
Berlioz: Ah! Ah! Je vais mourir, „Les Troyens“


2:
Rossini: Ouvertüre, „Italiana in Algieri“
Rossini: Cruda sorte, „Italiana in Algieri“

Saint-Säens: Bacchanale, „Samson et Dalila“
Saint-Säens: Amour, vienne, „Samson et Dalila“

Mascagni: Intermezzo, „Cavalleria rusticana“
Mascagni: Voi lo sapete, o mamma, „Cavalleria rusticana“

extra:
Puccini: O mio babbino caro, "Gianni Schicchi"
Bizet: Habanera & Seguidilla, „Carmen“

Agnes Baltsa in her blue dress, famous from many great concerts.

Exactly the same concert as in Munich. But of course, no concert is really like, not completely. Another audience, both enthusiastic, but in Munich there were more "come more often to us". Vienna is simply a Baltsa city where she visit often. As Carmen, Herodiade, Küsterin, Isabella.

Baltsa seemed fresher in Munich, took more often applause. The Orchestra played better in Vienna, giving the music full opera treatment. A bit tired maybe or with a hint of cold, her Eboli aria (La canzone del velo) was a joy, even better than in Munich. Her Charlotte aria (Vas, laisse couler mes larmes) was also a earth-chattering experience. Always the great Carmen (Carreau, pique) was are there enough words to find the right praise. And Didon (Je vais mourir), even if I would have loved more happy tunes with Baltsa, I would not think about Baltsa and death in the same sentence, but the Berlioz aria was so heavenly beautiful.

Second part gave us Isabella (Cruda sorte), Dalila (Samson, recherchant ma présence - Amour! viens aider ma faiblesse!) and the Santuzza aria. And as she is the perfect Isabella, Dalila and Santuzza it was just simply the best arias. And this time she sang Dalila's aria so well that even Mon coeur s'ouvre a ta voix was not so missed.

And the extra number, long time since they were any surprise was a wonderful O mio babbino caro and Habanera and Seguedilla.

Conclusion: I would so like to see Baltsa onstage as Eboli in Don Carlo or Didon as Les Troyens, and as Charlotte in Werther or Dalila in Samson et Dalila. And Isabella in Italiana or Santuzza in Cavalleria Rusticana. Do I need to see Agnes Baltsa as Carmen for the 10th time, I believe that I do need that too, but Eboli and Dalila would mean more to me.

OD Travel + Photos

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com