March 17, 2003: Tosca in Vienna

2003-03-17 Tosca (G.Puccini), Wiener Staatsoper

Mario Cavaradossi = José Cura
Floria Tosca = Isabelle Kabatu
Baron Scarpia = Franz Grundheber
Cesare Angelotti = Janusz Monarcha
Der Mesner = Wolfgang Bankl
Spoletta = Benedikt Kobel
Sciarrone = In-Sung Sim
Ein Schließer = Günther Groissböck

Stefano Ranzani, conductor


Wiener Staatsoper
Montag, 17. märz 2003
473. Aufführung in dieser Inszenierung

Tosca
Melodramma in drei Akten nach Victorien Sardou von Luigi Illica und Giuseppe Giacosa
Musik von Giacomo Puccini

Dirigent Stefano Ranzani
Inszenierung Margarethe Wallmann
Bühnenbild und Kostüme Nicola Benois
Chorleitung Ernst Dunshirn

Ein Hirt Kind der Opernschule
der Wiener Staatsoper

Orchester der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper

Chor der Wiener Staatsoper Kinder der Opernschule der Wiener Staatsoper

Tosca with José Cura as Mario Cavaradossi.

On 16th March 2003, I took a fall in a McDonald's restaurant. After coming to my hotel, I found out that I needed a doctor. He came, I got a kind of bandage on my right wrist, and a sport gel tube and some pill to kill the pain. After a not so pleasant night, it was 17th March 2003, and pain went and came again and again.

But I was not to miss Tosca, I already had a ticket, and I hope that the opera would be so great that I could forget pain and just be in operaland for 3 hours. But no, my loge was on the wrong side for getting to see the action. I blame the director, naturally. It was not a cheap ticket, and since I lost so much of act 2 and 3, like seeing how Jose Cura looked when singing "E lucevan le stelle".

The conductor was, I think really good. This was a good production, except when it was about situating the principals too much one side, making part of the audience suffering, to see nothing that was interesting that is. Isabella Kabatu was a great Tosca, and Grundheber a great Scarpia. I didn't find Cura a great Cavaradossi, but that was after his stupendous performance of Don Carlos.
'
The overall impression a weak Tosca performance, since it did not take my pain away.

I hardly heard Cura's voice. And how on earth am I to know if Cura sang a fantastic "E lucevan le stelle", I had lean over heavily to see his voice, had pain, and his voice was soooo weak when I compare to Don Carlos in Act 2 Scene 2. Cavaradossi died, and I did not care, Tosca jumped to her death, and I did not care.

I had some hope of seeing Cura backstage, and I did see him through the window, but all the people, and my pain. No, I had to protect myself from further pain, beside I hardly could operate my camera because of the pain. Well, I had promised some photos to my Cura Connexion friends, and I went to her hotel, wrote a not with my left hand, I also told the portier what I wrote so that the meaning would come through, and left some photos there. And then I went back to my hotel. The next day, 18. March was my home-going day.

well, Tosca is not so important for me, Don Carlos is. so Great TRAVEL, anyway

next time, please, I want to be lucky with the combination Cura and Tosca!!!

PS.
Lot of people enjoyed this Tosca, and especially José Cura as Cavaradossi. My excuse was my injury that made it harder to enjoy an opera performance. If I were rich I would have gone back to Vienna for another Tosca, tomorrow on 27. March is the last Tosca with Cura in Vienna for 2002/2003.


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January 18, 2004: Tosca in Berlin

2014-01-18 Tosca (Puccini), Deutsche Oper Berlin

Floria Tosca = Tatjana Serjan
Mario Cavaradossi = Marcello Giordani
Baron Scarpia = Sergey Murzaev
Cesare Angelotti = Ben Wager
Der Mesner = Seth Carico
Spoletta = Jörg Schörner
Sciarrone = Andrew Harris
Ein Schließer = Noel Bouley

Matthias Foremny, conductor
Kinderchor der Deutschen Oper Berlin
Chor der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

Director - Boleslaw Barlog
Stage-design, Costume-design  - Filippo Sanjust
ChöreThomas Richter

KinderchorChristian Lindhorst

There is this idea that one can see too many performance of one opera. Then there is perfection like on Saturday January 18, 2014 in Deutsche Oper Berlin. This is on of the classic productions that will never be tired, especially when it has been rehearsed so well that it seem to be real here and now. Marcello Giordani was a wonderful Mario Cavaradossi, perfectly sung and acted. Tatjana Serjan was just so right in this role, Tosca was in her bones and airs. Sergey Murzaev was just the perfect Scarpia.

Sergey Murzaev was the perfect Scarpia. Only hardened Thomas Hampson fans would be disappointed by Murzaev. This was a smooth, good-looking Scarpia who just occationally let the inner demon out. His minions looked more intimidating than Scarpia himself. But Roma knew of his reputation. Marcello Giordani made his Mario Cavaradossi a much more noble, politically savvy and screwd mind than most tenors give the role. Tatjana Serjan's Floria Tosca had also a wider pallette to paint than most sopranos. Then add upp a production and regie that takes everything in and draws the right picture all the way. Best Tosca ever!!

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January 13, 2007: Tosca in Zurich

2007-01-13 Tosca (G. Puccini), Opernhaus Zurich

Floria Tosca = Norma Fantini
Mario Cavaradossi = Marcelo Alvarez
Baron Scarpia = Ruggero Raimondi
Angelotti = Tomasz Slawinski
Mesner = Giuseppe Scorsin
Spoletta = Andreas Winkler
Sciarrone = Rolf Haunstein

Nello Santi, conductor




Tosca - Puccini
In italienischer Sprache


Deflo/Frigerio/Squarciapino/Hämmerli


Dirigent
Nello Santi


Inszenierung
Gilbert Deflo


Bühnenbild
Ezio Frigerio


Kostüme
Franca Squarciapino


Lichtgestaltung
Jürgen Hoffmann


Choreinstudierung
Jürg Hämmerli



PAUSE NACH DEM 1. AKT BEGINN: 19.30 UHR
ENDE:22.15 UHR


It was a wonderful opera evening. Ruggero Raimondi was a great Scarpia, Marcelo Alvarez was wonderful as Cavaradossi and so was Norma Fantini as Tosca.

The disappointment was the conductor Nello Santi who was almost killing the beautiful music, Tosca was mostly played painfully slow with sudden unreasoned faster parts. The Regie by Gilbert Deflo was not helping, as awkward moments in act 1. And deciding that Tosca would shoot herself rather that leaping from the Castello was really bad. Especially since both the shooting of Cavaradossi and later by Tosca was really too quiet. Not that one could not hear it but it didn't even hit our nerves. The scenography by Ezio Frigerio was probably one reason it was sometimes hard to hear the singers. The glass walls was just not reflecting the sound but it was giving reflects of the singers and the monitors which was a bit disturbing. And then there so not a huge or even big painting of Maria Magdalen, just some painters papers which really make the acting much more harder to do realistically.

After the opera, no Ruggero Raimondi in sight but delightful Marcelo Alvarez and the nicest soprano of all, Norma Fantini made the evening perfect. Marcelo Alvarez was most generous tenor meeting his fans and making everybody enjoy it deeply. And Norma Fantini was the warmest and nicest person you could meet. At the stage door a huge success for the fans. And I could go to the hotel with a big smile in my face. NORMA FANTINI, the power of nice!!!!


January 2007: Tosca in Zurich (2007-01-13)

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December 30, 2010: Tosca in Oslo

2010-12-30 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 Solberg4

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

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


Almost New Year's Eve in the Opera. Tosca is one of my favorite operas, and Maria Guleghina is one of my favorite opera singers. I sat in 3rd Balcony almost in the middle. I could see the whole stage all the time.

Paul Curran had the Regie for this Tosca. It was a traditional production with much attention to the details. Puccini's music had already decided much of the timing and the action. Naturally it is hard to get all the details right in every performance. But for the first time I noticed that Puccini had put Angelotti's heavy breathing when he finally was in the church and could relax, when he composed it. It is unfortunately that many directors seem to overlook these clues in the music when they make their "regie". What we now often call Regie-Theater is neither Regie nor Theater, it is a director creating his own play while ignoring most of what would make the opera or theater a living breathing truth appearing before our eyes. So this Tosca production proves that a tradional setting of an opera, where one put it in context and in its own time need not be Old and Boring.

Attention to detail made Tosca real and interesting. From the beginning when Angelotti came in exhausted and till Tosca leapt to her death it was all believable and interesting. And the music was excellent, singers, orchestra was all together to make it opera-magic. Not one person on stage was un-real. But only in the movies could you make sure that everything would happen on the right Puccini note. This was real theater, no editing of false moves was possible. I think it must be absolutely impossible in a theater to close the door at the precise time at the cantata in act 2. Impossible! But it was so close that I would say that the impossible was achieved.

It is seldom one really feel that Cavaradossi and the Sagrestano is really preparing the colors when Cavaradossi sings "Recondita armonia" but of course here one knows it. Miroslav Dvorsky was a Cavaradossi who was really a painter, a revolutionary, a lover of Tosca, a smart man. The interaction of Cavaradossi with Angelotti was also interesting with Angelotti recognizing Cavaradossi and hugs him, but the painter does not recognized him and rejects him to the floor. So real... But then Cavaradossi understands that it is Angelotti who has escaped prison and promise to help him even it can mean his death, which in the end it does.

Mario Cavaradossi still has his head with him even if Angelotti looses his wits and his bags of women's cloths. He picks the bag up but misses the fan. Again something we seldom see so clearly as in this production. Tosca comes. Maria Guleghina is Tosca and one does fall for her spell. Paul Curran had made his choices in how to portray the relation of Cavaradossi and Tosca. I might disagree about making Tosca a little too fickle but when it works and really has foundation in the opera, then it can be true, too. This production is the first production I have seen where Tosca not only comes with flowers but also lays jewels at the Madonna. Attention to details is everywhere in this production. How happy I am to see a Tosca performance where the timing of when Tosca notices la Marchesa Attavanti is the Maddalena that Cavaradossi is painting, is correct.

It was a lovely love duet between Miroslav Dvorsky and Maria Guleghina.

The situation that Angelotti is in, is grave. It is serious business, and when Tosca has left and Angelotti and Cavaradossi meets again, Cavaradossi is taking care of things not like it is only theater but as a life and death situation. They leave. The Sagrestano comes in with a lot of people. And there is a Baccano in chiesa. As a lively scene play out with children, priests, nuns, men and women, the stage is prepared for the Te Deum with women taking the paper bits that Tosca teared up the Cavaradossi drawing of Attavanti, and priests takes away the painter's things. Everything that happens on the stage seem natural and organic... Then Scarpia and his minions appears. It is true as the opera says that this Scapia is feared by Rome's inhabitants. Even the children knows that this is a dangerous man. His minions is also recognized as unfriendly and to be feared. They are all relieved to be allowed to go. But the poor Sagrestano must stay. When Scarpia seem to forget him for a moment, he tries to escape, but the Scarpia's minion's punished the Sagrestano with violence in a corner of the church. Scarpia care not for him. Then Tosca comes in looking for Cavaradossi and the Sagrestano mocks her and is seized by Scarpia's men and pulled away. Scarpia stalks her, pretending to want to offer her Holy Water. Scarpia had planned this since he understood that Cavaradossi, Tosca's lover, was involved in the Angelotti affair. Tosca's jealousy was roused by Attavanti's fan that Scarpia supposedly found with the painter's things. When Tosca leaves Scarpia arrange for 3 spies and one vehicle to follow Tosca. The Te Deum is in progress, an impressive affair. This Scarpia leaves then by almost crashing the whole procession.

Act 2. The best Vissi d'arte ever.

Act 3. A wonderful E lucevan le stelle and a perfect Love Duet by Miroslav Dvorsky and Maria Guleghina.

What can I say? It was perfect.

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December 28, 2010: Tosca in Oslo

2010-12-28 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.

Both Greer Grimsley (Scarpia) and Miroslav Dvorsky (Cavaradossi) seemed to have been affected by the cold weather but Maria Guleghina (Tosca) was as her usual self. I was sitting on 3rd balcony on the right side. I could see more of the stage than on December 19 when I sat on Parkett right. From the beginning I could hear that Miroslav Dvorsky was not in his best form but that did but that did not hinder him from singing a fine Recondita armonia and an exceptional E lucevan le stelle. Only in the last duet it happened he lost his voice painfully. Luckily at his side a great collegue, Maria Guleghina who grasped his hands and comforted the tenor with her presence and her big voice and as a miracle the tenor found his voice back and that made the last duet even more moving. Tenor and soprano make it part of the opera. It was a happy opera night for Maria Guleghina who sang one of he finest Vissi d'arte. Maria Guleghina's interpretation of Tosca is always something to admire. She put her heart and soul into every part she sings. At this moment it is her Tosca and her Abigaille that I most admire.

After the opera I found the stage entrance and I went in to wait for my idol. I was alone, people left the opera house and there she was, the Diva with her beautiful assistant. Maria Guleghina and I are friends on Facebook but I never thought the Diva would look at me and say "it is your birthday, isn't it?". And then she sang me Happy Birthday in a natural, un-operatic way. And her assistant took a photo of me with Maria on my Birthday. O lucky day!

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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.

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November 23, 2007: Tosca in Vienna

2007-11-23 Tosca (G.Puccini), Wiener Staatsoper

Mario Cavaradossi = José Cura
Floria Tosca = Amarilli Nizza
Baron Scarpia = Marco Vratogna
Cesare Angelotti = Boaz Daniel
Der Mesner = Lars Woldt
Spoletta = Benedikt Kobel
Sciarrone = Clemens Unterreiner
Ein Schließer = Goran Simic

Paolo Carignani, conductor

Tosca with José Cura as Mario Cavaradossi.

Tosca no 517:
Inszenierung Margarethe Wallmann
Bühnenbild und Kostüme: Nicola Benois


I missed a great Scarpia, Ruggero Raimondi is always great as Scarpia. Amarilli Nizza was Ok as Tosca. Liked her Vissi d'arte. José Cura and the conductor was not always in agreement. Cura wanted to be faster. He was also acting in a way inconsistent with the times, Neapolitan time. This was a very traditional Tosca with beautiful settings. It was a beautiful E lucevan le stelle. The end duet Tosca/Cavaradossi was great (good). But Nizza could not help herself when she leaped from the castle one might have thought this was one of the first Tosca's in this production, very old fashioned (at least from the -50s). One arm raised....

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October 24, 1998: Tosca in Zurich

1998-10-24 Tosca (Puccini), Opernhaus Zurich

Floria Tosca = Daniela Dessì
Mario Cavaradossi = Neil Shicoff
Baron Scarpia = Ruggero Raimondi
Cesare Angelotti = Jacob Will
Il Sagrestano = Martin Zysset
Sciarrone = Rolf Haunstein
Un carceriere = Peter Kalman

Marcello Viotti, conductor

Daniela Dessi was a superb Tosca, everything, her acting, her voice was great.I was really swept away with this great actress-singer. Neil Shicoff was Cavaradossi, he too was good. Ruggero Raimondi was a great Scarpia.

Musikalische Leitung MARCELLO VIOTTI
Inszenierung ULRICH PETER
Ausstattung HUBERT MONLOUP
Lichtgestaltung JAKOB SCHLOSSSTEIN
Chor JÜRG HÄMMERLI


Hirt NATALIE ZAGODA, REBECCA RÜEGGER
CHOR DES OPERNHAUSES ZÜRICH ZUSATZCHOR OPERNHAUS ZÜRICH KINDERCHOR DES OPERNHAUSES ZÜRICH
STATISTENVEREIN AM OPERNHAUS
ORCHESTER DER OPER ZÜRICH
Violoncello-SoloCLAUDIUS HERRMANN

Ort und Zeit der Handlung: Rom, Juni 1800

Musikalische Assistenz
und Einstudierung KELLY THOMAS, HERVE MAHE,
LODOVICO ZOCCHE Abendspielleitung und
Regieassistenz ULRICH SENN
Organisation und
Betreuung der llinder SUSY SIEGRIST
Inspizienz RUDOLF BUDAV ARY
Souffleur ADRIANO
Technische Leitung WERNER HUBER
Beleuchtung JÜRGEN HOFFMANN
Leiter des Ausstattungswesens BRUNO STUCKI

Samstag, 24. Oktober 1998Samstag-Abo
Pausen nach dem 1. und dem 2. Akt Beginn: 19.30 Uhr
Ende: ca. 22.15 Uhr

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September 15, 2013: Tosca in Vienna

2013-09-15 Tosca (Puccini),  Wiener Staatsoper

Floria Tosca = Angela Gheorghiu
Mario Cavaradossi = Marcelo Álvarez
Baron Scarpia = Zeljko Lucic
Cesare Angelotti = Janusz Monarcha
Der Mesner = Alfred Šramek
Spoletta = Benedikt Kobel
Sciarrone = Marcus Pelz
Ein Schließer = Alexandru Moisiuc

Marco Armiliato, conductor

Inszeniering - Margarethe Wallmann

Bühnenbild und Kostüme - Nicola Benois

2013-09-15 TOSCA (Puccini), Wiener Staatsoper
Tosca = Angela Gheorghiu
Cavaradossi = Marcelo Alvarez
Scarpia = Zeljko Lucic

Conductor Marco Armiliato.


And a happy opera night it was. The production was TOSCA and no nonsense here. Marcelo Alvarez was a great Cavaradossi. He had a wonderful E lucevan le stelle. Angela Gheorghiu´s best moment was Vissi d arte and the last act. Zeljko Lucic was too mellow, strange since he is such a powerful Jago.

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September 11, 2010: Tosca in Zurich

2010-09-11 Tosca (G. Puccini), Opernhaus Zurich

Floria Tosca = Maria Guleghina

Mario Cavaradossi = Marcelo Alvarez

Baron Scarpia = Ruggero Raimondi

Angelotti = Valeriy Murga

Mesner = Giuseppe Scorsin

Spoletta = Andreas Winkler

Sciarrone = Morgan Moody

Nello Santi, conductor

Iszenierung - Robert Carson

Spielleitung - Aglaja Nicolet

Austattung - Anthony Ward

Lichtgestaltung - Davy Cunningham

Regiemitarbeit - Alexander Lowde

Maria Guleghina is feeling better (TOSCA 11.9.2010)

- and so was I. After a week with back pain on and off finally Friday I felt good again. It became a normal Friday except that I was really going to Zürich to see TOSCA with Maria Guleghina, Marcelo Alvarez and Ruggero Raimondi.

Without Facebook I would not have known that Maria Guleghina had sung one Tosca against the doctor's order. Before the the performance there was an announcement by the management about the Grippe that was going on in the opera house. It was affecting Spoletta, the tenor had had the voice of a bass in the morning but was going to sing anyway. Had I not heard the word Spoletta I would have thought it was Cavaradossi who was affected. Marcelo Alvarez did seem to be very careful in his singing in act 1 but so was Maria Guleghina and Ruggero Raimondi. Marcelo Alvarez sang a precious "Recondita armonia" and showed himself to be an excellent actor. Maybe it was because Alvarez was so careful in his singing that Maria Guleghina was mimicking him or perhaps she still was not completely well. My only real complaint about the duet was the audience reactions, laughing at the jealousy of Tosca. Here one hear the wonderful act 1 duet and people are laughing. How rude it is! The interaction between Ruggero Raimondi (Scarpia) and Maria Guleghina (Tosca) was amazing. Real acting. And then act 1 ended with "Tre sbirri" and Te Deum. With act 1 the opera did not take flight, not yet, the singers were far too careful for that. PAUSE

Act 2 and with the first note that was sung the opera flying high. Ruggero Raimondi used his age to the advantage to create his menacing Baron Scarpia. This was an old and dangerous Scarpia. Marcelo Alvarez was the noble and aristocratic Cavaliere, proud and in defiance. Maria Guleghina was the Diva and Woman in Love. Act 2 was high drama, wonderfully acted and sung. I loved her "Vissi d'arte", it was so pure and true. For me there are no Tosca like Guleghina and how she sang acted to Cavaradossi and Scarpia was amazing. And unforgettable it was when Tosca realized after the fury and fear that she has really murdered someone.

Act 3 gave a wonderful "E lucevan le stelle" by Alvarez and of course the duet with Guleghina was a wonderful, too. Strange as it seem I still cannot say it was the best Tosca performance that I have seen. I have seen Marcelo Alvarez, Maria Guleghina and Ruggero Raimondi making better Tosca performances but never together. This performance came close to be the best TOSCA performance.

Still, the shouts of Brava and Bravo was highly deserved. And after the performance Marcelo Alvarez came first out the stage door, then Ruggero Raimondi and lastly Maria Guleghina. Then I got the chance to ask Maria Guleghina if she was feeling better. And she said yes, and that made me so very, very happy. And I used the opportunity to tell her how I enjoyed the way she sang "Vissi d'arte". And then we were both free to go, each over way.

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September 8, 2001: Tosca in Zurich

2001-09-08 Tosca (G. Puccini), Opernhaus Zurich

Floria Tosca = Daniela Dessi
Mario Cavaradossi = José Cura
Baron Scarpia = Ruggero Raimondi
Cesare Angelotti = Guido Götzen
Der Mesner = Giuseppe Scorsin
Spoletta = Volker Vogel
Sciarrone = Rolf Haunstein
Ein Schliesser = Valery Murga

Carlo Rizzi, conductor



Disappointment!!!!!

José Cura, Daniela Dessi and Ruggero Raimondi, they did all disappointment me. How:

New Tosca production in Zurich. I liked this production. Maybe it was the conductor's fault, the 3 ladies from Italy thought so. Yes, some of it. And then there was Cura, and his fans in the audience. I would like to say to Señor Cura that singing in an opera is different than singing in a concert. He sang the arias as were it a concert-piece and the conductor indulged him. Singing the last note looooong, waiting for the applause. His concerts of is with microphone, I think it have gone to the maestro's head. His pianissimo was not audible and I was not far from the stage and Zurich is not a BIG theatre in a physical sense. This MACHO Cavaradossi was an insult to Puccini, Daniela Dessi did not have an easy time with singing another kind of Tosca because of Jose's interpretation. Ruggero Raimondi lacked some parts of his large voice, he was not imposing enough something that it is very seldom that RR lacks.

Last act was a greater pleasure than the 2 previous acts.

(This piece make me feel as if I was writing it with a broken arm or something, but no that was another Tosca in Vienna with JC)

OD Travel + Photos

September 1, 2012: Tosca in Stockholm

2012-09-01 Tosca (G. Puccini), Operan (Stockholm)


Floria Tosca = Lena Nordin
Mario Cavaradossi = Thiago Arancam
Baron Scarpia = Fredrik Zetterström
Angelotti = Anton Eriksson
Sagrestano = Magnus Kyhle
Spoletta = Daniel Ralphsson
Sciarrone = Michael Schmidberger
Jailer = Alar Pintsaar

Lawrence Renes, conductor

Stage design: Björn Brusewitz Costumes: Ann-Mari Anttila
Light design: Hans-Åke Sjöquist Producer: Knut Hendriksen

It was a pity I was not there when Jose Cura sang even though I had tickets. I had hoped for another tenor to love.

I did not love this tenor, Thiago Arancam. He was good-looking and could act. He was the ideal Mario Cavaradossi except for his voice. I do not like Jonas-Kaufmann-like tenor voices, they are too dark for me.  There was no announcement that the tenor was not well. The weather was bad, lots of rains so it would not have been strange if it had some impact on the opera singers. But with no announcement and with the enthusiasm of the audience I must believe that the voice I heard on September 1, 2012, was his normal opera voice. He had the weakest voice of all in this performance. His voice was dark and so "covered" that he seem to have to fight to get it out. It is great shame when then tenor can be overwon by the Sagrestano. Magnus Kyhle was magnificent and had a big voice. Lena Nordin as Floria Tosca was likewise in all shapes better than the tenor. The duet was less painful to listen to than the Recondita armonia. But it was act 1 so I thought it must get better. This must just be a bad start. Fredrik Zetterström as Baron Scarpia was perfect in all, singing, acting. Fredrik rules!!!

Act 2 and I am really getting to see the production as it is. And that it is nothing too special. It is a traditional opera production and the only thing that differentiates it from other traditional Tosca productions is that in Act 2 the stage floor is lifted up  while they are singing and we see the dungeon where Cavaradossi is tortured. But Cavaradossi has his back to the audience so it is not like we are really getting some gruesome detailed torture scene. It is rather clean and nice. And when Cavaradossi comes up again from the torture there is no blood that I could see. This is beautiful production that is not daring at all. Fredrik Zetterström, Thiago Arancam and Lena Nordin can all act well and they do it well. Only Fredrik Zetterström and Lena Nordin lifts the act up. Zetterström is the closest to the ideal Scarpia. Lena Nordin is a wonderful Tosca and sings the most vulnerable Vissi d'arte and for the first time the audience interrupts the opera with applause. She deserved the long applause of Wiener Staatsoper and many BRAVA shouts.

Act 3 and for the second time an aria ends in applause. But this time with shouts of BRAVO. For me I can only say yes, he did not completely ruin this aria as he did in Recondita armonia. I was sitting there so decidedly underwhelmed and confused by the "whole" audience going wild for Thiago. THEY loved him, I liked him after all he is the dark good-looking man. He can act.  Then the duet. I wonder how did it feel to be Lena Nordin singing with him. Or maybe she just loved it. I don't know. Lena saved the show!!! But I know I prefer to have a great Tosca, Scarpia AND Cavaradossi in Tosca.

Dear Thiago, you can only be better. I hope this was just this time, but if not, please get help with the issues. Love!!



OD Travel + Photos
Original blog post (Norwegian), Second blog post (English)

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

July 15, 2006: Tosca in Verona

2006-07-15 Tosca (Puccini), Arena di Verona

Floria Tosca = Fiorenza Cedolins
Mario Cavaradossi = Marcelo Alvarez
Baron Scarpia = Ruggero Raimondi
Cesare Angelotti = Marco Spotti
The Sacristan = Fabio Previati
Spoletta = Cristiano Olivieri
Sciarrone = Gabriele Ribis
A Prison Guard = Angelo Nardinocchi

Daniel Oren, conductor

Tosca



Melodrama in 3 acts by
Giacomo Puccini
Libretto by Giuseppe Giacosa e Luigi Illica




Arena
15 July 2006 at 21.15



Principal Conductor Daniel Oren
Director Hugo de Ana
Scenographer Hugo de Ana
Costume Designer Hugo de Ana



This year I was in Verona to see Jose Cura as Canio in Pagliacci. A role I have seen him twice before. But this was a new production in Arena di Verona. And going to Verona is such fun. There was rumor that not many from the Jose Cura connexion (JC's fanclub) was going to be there, but I counted 7 persons at least. Since I had decided to go to Verona I and MARCELO ALVAREZ was going to sing in Tosca I wanted to combine these two great Argentinean tenors. I so it was Cav/Pag on July 14th and TOSCA on July 15th.

Better still; I hear that Cura was also going sing Turriddu in CavRust, my first with him in this role?! And then RUGGERO RAIMONDI as Baron Scarpia. My expectations skyrocketed. O dear, major disappointments is at hand if something goes awry.

This time I came my destination the day before the opera. So on Thursday the 13th I was resting up to be in the very best mood and hopefully not sleepy when the operas begin.

No problem in Verona, although it is very hot. But in the evening when the operas begin it is better. No need really to carry along a jacket even long after midnight it is still hot enough to go without.

CAV/PAG with Jose Cura was wonderful. One disappointment: where is Cura when we are waiting at the stage door. GONE?!

Luckily after TOSCA this never happened, both ALVAREZ, RAIMONDI and Cedolins was there. And of course RR fans and Alvarez fans.

TOSCA was incredible, FANTASTIC. Now comes the hardest part of this report from Verona; how to describe such a wonderful performance, the amazing acting, singing and this production. I will try, although many before have done a fabulous job in making a review of this TOSCA.

ACT 1:
http://www.operaduetsphotos.com/Tosca2006_0715_1.html
As you can see from the photos this is a beautiful production. And when I see them I remember the most glorious singing. And Marcelo Alvarez had a golden voice and so in character. Fiorenza Cedolins was a good Tosca but I must admit I was more looking at Cavaradossi than Tosca. But to start with the beginning. Angelotti (Marco Spotti) comes in near exhaustion. Really great acting even though the stage was not really having a Madonna stature where Angelotti could find the keys or where Tosca could put her flowers. But that didn't matter the great acting made up for that. Later came the Sacristan (Fabio Previati) with several monks, and in this production the monks was almost for laughs and not the sacristan. Then came the moment, Mario Cavaradossi (Marcelo Alvarez) came onstage. Glorious singing and acting. Marcelo Alvarez was completely in role. This role fits him like a glove. Wonderful Recondita armonia!!! Then he met Angelotti again and the story becomes serious. This Cavaradossi is serious in his political convictions, Se la vita mi costassi!!!, Alvarez is singing and it is going out like a rocket. Tosca is singing "Mario! Mario! Mario!" As Angelotti hides, Cavaradossi answers Tosca. Tosca (Fiorenza Cedolins) arrives and of course this is one of the opera literature most beloved opera duets, wonderfully sung by Alvarez and Cedolins. Her acting and singing makes her believable as Tosca. Alvarez is naturally showing why he is a No 1 tenor in the world. Now, the only thing is that the audience thinks Tosca's jealousy is just a laughing matter. I don't, jealousy is not easy for the jealous person, and not for the partner. I loved how Marcelo made his Cavaradossi such a caring and lovable person who know how to make Tosca's life better in spite of her jealousy. So I saw in Verona how this love duet showed the depth of their relationship, deep love. One highlight was naturally "Qual occhio nel mondo al par de tuoi". Incredible acting and singing. At last Tosca is going, "Urge la opra!" In don't know why there were laughs when Cedolins was going. May be it was the "Falle l'occhio nere".

Then we see the soldiers in Castel Sant'Angelo (high up in the steps) they have found one prisoner missing (Angelotti), and a COLPO di CANONE. And there where quite a few laughs (almost hysterical) at the real BANG of the Cannon. And it was LOUD, and of course you could see the smoke, and not little of that either. Then of course on the stage Angelotti and Cavaradossi flees. The Sacristan and the chorus is ready to celebrate the big victory against Napoleon. The Sacristan had wanted to tell of this victory against Napoleon to Cavaradossi to show him "We win, you loose!"

Now it is time for Baron Scarpia (Ruggero Raimondi) and his spies to search the church. And the big painting. of Maddalena and the Christ was into two pieces. And I guess somebody in standing on this robe or maybe it is the painting. Ruggero Raimondi tries to stand up twice, then as the smart artist he is he starts singing kneeling, making that so right so natural and so right in character to sing "Un tal baccano in chiesa!". With the help of his spies and with no loss of dignity he goes on, owning the stage, domineering and scaring the wit out of the sacristan.

Of course Scarpia figures out what had happened from the evidence. A empty bucket in the chapel (Cavaradossi's food prepared by the sacristan, C was not hungry, and now the it inside the Attavanti chapel), Attavanti's portrait by Cavaradossi (she is the sister of Angelotti). Scarpia is lusting for Tosca and now her lover is evidently helping a State Enemy). YES, Tosca will be mine.

Then Tosca arrives. Scarpia found a fan belonging to Attavanti in the chapel. But he tells Tosca he found it near the painters pencils etc. Fiorenza Cedolins is a Tosca only looking for Cavaradossi so Baron Scarpia being there is not something she is thinking about. But when he will give her, a devout Catholic, holy water she can only accept, absentmindedly. Then when Scarpia starts his insuating. Making her believe that Cavaradossi is in their love nest with Marchesa Attavanti, she is all fire. Just what Baron Scarpia wanted and he orders "Una Carrozza, tre sbirri" and the Te Deum begins. And it is really BIG, BIG, BIG in the Arena. Even almost overwhelming Ruggero Raimondi. TOSCA, ACT 1: Incredile ma vero!

Act 2:
http://www.operaduetsphotos.com/Tosca2006_0715_2.html

This is the act that most define Tosca and that is saying without a great Scarpia and Tosca it will fall apart. Of course Ruggero Raimondi is the man to ensure that this act will have all the drama it need. And Fiorenza Cedolins is enough of a Tosca to really ignite the fire it need. It is going to be impossible to describe how fantastic this act was sung and acted.

This photo of Fiorenza Cedolins as Tosca in act 2 says it all, what a proud and unafraid Tosca she played:

Unlike most Tosca's I have seen Vissi d'arte was not the greatest in this act it was Marcelo Alvarez "Vittoria!". Really amazing!! But not only that, unlike the other Tosca, seeing Cavaradossi standing up against Scarpia was like magic. Like this:
http://www.operaduetsphotos.net/MarceloAlvarez/Tosca/2006_0715_223656.html

My photos from act 2 really says better than I can do what a dangerous situation act 2 was.

Act 3 is my favorite
http://www.operaduetsphotos.com/Tosca2006_0715_3.html

And Marcelo Alvarez sang so splendidly E lucevan le stelle that the whole arena wanted to have it again. And after a false start "O dolci mani", Marcelo Alvarez was obviously already thinking ahead. Both E lucevan le stelle was the kind of singing that should become the standard. Fiorenza Cedolins and Marcelo Alvarez was both singing their best duet ever, it was THAT great. The acting was outstanding. Then unfortunately the opera would be over with the death of Cavaradossi and Tosca. WHAT A PITY that it is not a longer opera. BRAVA, Cedolins! BRAVI, Marcelo Alvarez & Ruggero Raimondi!!! It was like a dream come true.

After all the applause it was time to go to the stage door. Waiting a long time, but it was worth it. Alvarez, Cedolins and Raimondi came out, the boy soprano too and many more. I had almost nil change to get a photo of Cedolins, that was because the world wanted ALVAREZ and RAIMONDI. Ruggero Raimondi tries to get out quickly, but luckily I got some fine photos of him. AND then I got PLENTY of Marcelo Alvarez. And another time I hope to get a chance to talk more to Canterbella, Davina and maybe even Christine.

And it could have ended there but no. I and my Japanese friend was following Marcelo Alvarez. Marcelo had promised her to meet his son. And now another kind of magic started. We followed Marcelo with his little troupe, and there he was standing in the middle of the piazza and applause just started impromptu. We walked closed to one of the many cafes, more applause, BRAVO!!!!, people wanted to have his autograph, being photographed with him, congratulating him. So many hugs our dear tenor gave, and so gladly, laughingly. Yet another Cafe, the same happened, all in the Piazza Bra loved Marcelo Alvarez, he talked and waved his hands. It was Magic. And in the end my Japanese friend got to talk to Marcelo Alvarez young son. Who was like his father a gracious being. And he also gave his autograph just like his father. Just before leaving him to eat with his family and friends in a restaurant just a few steps from Piazza Bra I got the chance to thank him for a wonderful Tosca, and in the end I say !Viva Cordoba! in what I hoped sounded Spanish. And he asked me where I was from, I said Norway.

And I have been trying to get my sleep back ever since then.

BRAVO, Marcelo Alvarez!!!!!!

OD Travel + Photos

June 20, 2009: Tosca in Berlin

2009-06-20 Tosca (Puccini), Deutsche Oper Berlin

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Neil Shicoff
Baron Scarpia = Franz Grundheber
Cesare Angelotti = Krzysztof Szumanski
Der Mesner = Roland Schubert
Spoletta = Jörg Schörner
Sciarrone = Hyung-Wook Lee
Ein Schließer = Tomislav Lucic

Emmanuel Villaume, conductor

Tuesday I got the news from Parsifal's blog, that Angela Gheorghiu canceled her Tosca in Berlin, and that Maria Guleghina was singing instead. So I bought tickets to the opera and air ticket for the travel. I am so lucky that the price was reasonable at Norwegian Air. Because Angela Gheorghiu was supposed to sing the price was 118 Euro. Really 120 Euros.

So thanks to Parsifal's was I in Berlin to see an extraordinarily fine performance. Maria Guleghina is a fine actress. The perfect Tosca. Neil Shicoff sang the role of Mario Cavaradossi ardently. His voice sounded like always only a little bit grainier. His Recondita armonia and E lucevan le stelle was applauded very much. Maria Guleghina sang a wonderful Vissi d'arte. Franz Grundheber was an excellent Baron Scarpia. He used his age to his advantage. As many older opera singers who have learnt how to use everything to their advantage even their faults, Grundheber know all about how to project the character via voice and gestures...

The production was Tosca, plain and simple. Tosca in Rome in the right historical time. But isn't it time that the sagrestano lets go of the hunchback and being some kind of comic relief. Luckily Roland Schubert who sang this role had a great sonorous voice. Loved his voice. Cesare Angelotti was sung by Krzysztof Szumanski, also a bass, acted well together with Neil Shicoff. Of course, the opera only took on form and real life when Maria Guleghina came in. Wonderful duet followed. After the Tosca in Vienna (April 25, 2009) I was interested in how Sciarrone and Spoletta was in this production. From Vienna I recall the Sciarrone but not Spoletta. Here there was a different interaction between Sciarrone and Spoletta was different, more competitive. I liked Jörg Schörner as Spoletta and Hyung-Wook Lee as Sciarrone. And Tomislav Lucic was a sympatric jailor. A perfect TOSCA!!!!

Sat, 20.06.2009, 19:30 h
duration: 2 hrs 45 mins | 2 intervals

D Category: 35,- | 60,- | 85,- | 118,- Ticket online kaufen
[A service fee of Euro 2,- per ticket will be charged]

Giacomo Puccini
Tosca
Melodramma in 3 acts
Libretto by Giuseppe Giacosa and Luigi Illica based on the drama LA TOSCA by Victorien Sardou
First performed on 14th January, 1900 in Rome
Premiered at the Deutsche Oper Berlin on 13th April, 1969

In Italian with German surtitles


conductor
Emmanuel Villaume

director
Boleslaw Barlog

stage-design, costume-design
Filippo Sanjust

chorus-master
William Spaulding




Orchester der Deutschen Oper Berlin

Chor der Deutschen Oper Berlin

Knabe des Staats- und Domchores

Kinderchor der Deutschen Oper Berlin

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

June 9, 2007: Tosca in Oslo

2007-06-09 Tosca (G. Puccini), Den Norske Opera

Floria Tosca = Inga Nielsen
Mario Cavaradossi = Salvatore Licitra
Scarpia = Sergei Leiferkus
Sakristanen = Yngve André Søberg
Angelotti = Knut Stiklestad
Sciarrone = Markus Kvits
Spoletta = Svein Erik Sagbråten



Illustrasjon
TOSCA
Opera i 3 akter av Giacomo Puccini
- Libretto: V. sardou, L. Illica, G. Giacosa

Repertoar


Sesongpremiere: 31/5
Øvrige spilledatoer: 2/6, 4/6, 6/6, 9/6
Spilletid: ca 2 t og 30 min
Fremføres på italiensk
Norske overtekster

Musikalsk ledelse: Keri-Lynn Wilson (not?)
Regi: Per E. Fosser
Scenografi/kostymer: Lubos Hruza
Kormester: Steffen Kammler

Wonderful Tosca performance. One of the best Tosca inszenierungen. With a standing ovation in the end. Mostly for Salvatore Licitra's singing and acting that was outstanding. Inga Nielsen who was singing Tosca was best in act 2+3, but even in act 1 she was a wonderful actress in her encounters with both Cavaradossi and Scarpia. In act 2 her voice had even more command and she was very much a believable Tosca with a wonderful Vissi d'arte. Sergei Leiferkus who was a wonderful Jago in Munich was less in command in act 1 but a totally believable Scarpia in act 2. Salvatore Licitra was simply the best Cavaradossi!!!

OD Travel

Original blog post

April 25, 2009: Tosca in Vienna

2009-04-25 Tosca (G.Puccini), Wiener Staatsoper

Mario Cavaradossi = José Cura
Floria Tosca = Maria Guleghina
Baron Scarpia = Carlos Almaguer
Cesare Angelotti = Marcus Pelz
Der Mesner = Alfred Sramek
Spoletta = Benedikt Kobel
Sciarrone = Zoltan Nagy
Ein Schließer = Alexandru Moisiuc

Pier Giorgio Morandi, conductor

Maria Guleghina and José Cura had great rapport towards each other. Maria Guleghina was amazing as Floria Tosca. They both acted and sang extremely well, alone and were magic when both was together. And then one can add the third, Carlos Almaguer as Scarpia, this was his deservedly triumphant debut at the Wiener Staatsoper. A menacing and deep voice and he did just everything right to be a super Scarpia.

There were some minor fault. But they were really minor. In the 2nd act and had mostly with windows and doors. In the beginning one opens the window to hear the music outside the palace. But the music was already there when one opens the window. And again when closing the window the music stopped before the windows was closed. Thus shattering the illusion of a window. And again when when Scarpia asks Spoletta to shut the door so that his secret orders will not be heard by others, the orders of shooting Cavaradossi, just like with Palmiere... a simulated shooting. But the door opens by itself, but this being an opera one can't stop the action, the music, to shut the door. Luckily this audience was willing let minor fault be.

Not everybody applauded Maria Guleghina's Vissi d'arte, I did. Although she was not singing it all correctly, for me the most important thing was that she was in character and I thought it also was very beautifully sung. To hear a fault here you really needed to know your TOSCA.



But if I start with the 1st act. Pier Giorgio Morandi was a wonderful conductor in this opera. We had an uncommonly short and thin Angelotti, but he had an imposing voice. I though they had really made Angelotti (Marcus Pelz) look that he had been in jail and suffers so much, getting skinny, so that it was not strange that Cavaradossi did not recognize him. The Sagrestano was Alfred Sramek who would have been perfect had he not so often "talked" to the audience. It was like very old school opera. But otherwise this was a more real Sagrestano and no comic figure. José Cura's Cavaradossi was much improved since last I saw him. He acted Cavaradossi who was a serious painter. Cavalier Cavaradossi is an aristocrat and Sagrestano is not, so in the time of the opera, Cavaradossi is not arrogant just aristocrat when he commands the Sagrestano "Dammi colori". A wonderful Recondita armonia followed. Then Cavaradossi and Angelotti met. It is so real that one understands Cavaradossi's reaction. Then finally, Maria Guleghina as Floria Tosca. Grand Duet, and it is truly magic In the end also Scarpia appears. Carlos Almaguer, imposing although not tall like Maria Guleghina or José Cura. This Scarpia is a power-house. Then when Tosca appears again, there is so much tension and wonderful acted (soft) confrontation between Scarpia and Tosca. Maria Guleghina is not only a great singer but a wonderful actress. A great Tosca. It was so lucky to finally have a Scarpia that was so right for the role.Carlos Almaguer, I have seen him before as Alfio in Arena di Verona, but this was really HIS role. BRAVISSIMI!!!!

Act 2: He is the perfect Scarpia still in this act. And that Maria Guleghina and José Cura would be wonderful also in this act was no surprise. The surprise was Sciarrone, Zoltan Nagy. Not so usual that one remembers him. But he really acted this person, a sinister police agent. When he stood in the door to the torture chamber he was like a statue, never reacting to Maria Guleghina's desperate Tosca, but only listening to Scarpia. So in this acting by Zoltan Nagy the story in act 2 was even more sinister and menacing. Tosca's predicament became even more desperate when turned to a human who had no soft spot like Zoltan Nagy's Sciarrone. I found Maria Guleghina's portrait as Floria Tosca to be the most real and her singing and acting was the closest to perfect I have ever seen. Of course, she was helped by having the perfect Scarpia, Mario Cavaradossi and Sciarrone. It always helps when one have the best colleagues.

Act 3: Alexandru Moisiuc, was the prison guard. He did well. José Cura sang E Luceven Le Stelle, wonderfully. Then Maria Guleghina came and it was a Grandissimo Duet. This TOSCA performance was so perfect that really moved me to tears many times.

BRAVA, Maria Guleghina!!!
BRAVO, José Cura!!!!
And to Carlos Almaguer, BRAVO!!!!!!!!!!

The Verdict: The closest to perfection that I have ever seen.

Of course I waited by the stage door and I was lucky, I saw José Cura and Maria Guleghina and could take a photo of them, not together, alone.

OD Travel + Photos
Original blog post: Best Tosca ever (April 25th, 2009)

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

April 6, 1989: Tosca in Oslo

1989-04-06 Tosca (Puccini), Den Norske Opera (Oslo)

Floria Tosca = Helena Döse
Mario Cavaradossi = Gardar Cortes
Baron Scarpia = Stein Arild Thorsen

Antonio Pappano, conductor



I did not get to see Plácido Domingo as Mario Cavaradossi in Oslo with Helena Döse as Tosca. But I got the Icelandic tenor Gardar Cortes. And strangely enough I got to see his son as the Duke of Mantua in Nordfjordeid in 2005.

OD Travel