TOSCA at the first of La Scala 2019 – Reviews by Natalia Di Bartolo and Willliam Fratti – Netrebko, Meli, Salsi, Chailly, Livermore: a sumptuous show, with the presence of President Mattarella –
Seen by Natalia Di Bartolo
Opera is Theater before anything else. And as such it must be looked at, as a whole. Music addicts who stick to the nuances of voices or to comparisons with stars of the past, perhaps used to listening exclusively to records and who compulsively listen in a thousand different editions before attending a new edition of the work and moreover often on television , they do not understand that they have an extremist position which is completely wrong.
When the direction, the sets, the costumes are low profile or negatively distort the libretto, it is right to "stick" to the voices alone. But when the show as a whole "works", this is what counts, more than the single rendition of the single singer, possibly even avoiding nitpicking in that single passage.
Therefore, to say that vocally Tosca at the La Scala theater, at the premiere on 7 December 2019, dedicated to Paolo Grassi on the centenary of his birth, was musically all roses and flowers would not be correct, but to say that it was overall an out of the ordinary show. is the most apt definition.
The Opera is a theater of the highest level, in all its facets. A singer can have a wonderful voice, but if he is a stalk of celery on stage, he cannot be called a great singer. All the more reason the prima donna. The prima donna must have voice, character and presence. Then one of these indispensable characteristics will inevitably dominate the others, but it will certainly not cancel them.
And’ the case of Anna Netrebko, Tosca in this edition of La Scala. A woman of extraordinary beauty, the Russian soprano has the temperament of a tiger. She now she has changed vocality and repertoire, for some years, picking up the thread of her already very long career, she too after the vicissitudes of private life, and continuing to triumph in the world. Her voice, which at first also sang the Opéra Français as a light soprano, is now emitted by a dramatic soprano and aspires to Turandot, in which she plans to debut soon. So her voice has undergone profound changes over the years, but she is still there, despite having lost part of her brilliant enamel and turning to a very accentuated deep timbre, to tell the truth sometimes, in some serious note, a little’ "inflated".
So Netrebko is a "dark" Tosca, but an appreciable one and above all an actress with an impressive stage mastery. She could be made to do anything on stage: her ease in any role does not miss a beat. So, in the face of so much expertise, while doing a little’ of effort, you can also pass over an attack of Vissi d'Arte a bit’ uncertain Moreover, lately, he had to respect a long period of absolute rest, so his voice could not be in full shape in this Tosca. But the acute of the Vissi d’arte was a masterpiece. When he launches, he also finds the ringing again. But she too is human: emotion plays tricks, together with the tiredness of grueling rehearsals and a play already performed in its entirety in the evening dedicated to young people two days earlier: after the highlight of "Vissi d'Arte", perhaps for a drop in emotional tension, he repeated a previous phrase instead of singing the right one; all repaired promptly, together with Salsi and the orchestra, seamlessly and with infinite professionalism, and there are those who have not noticed.
At his side, a Cavaradossi whom many were waiting at the gate with not very peaceful intentions: Francesco Meli. Yet he too gave his all. He is not forgiven the tendency to falsetto in the piano and pianissimo also in this part, but “Reconditaharmony” was very well executed. And then, another striking case, he identified himself and acted, with the expertise of a consummate actor: seen and reviewed several times, until now he had always seemed cold and inexpressive like an icicle. Which Cavaradossi, on the other hand, despite the inadequacy of the stamp, proved to be credible and at times engaging.
For the first time, however, in this edition of Sant’Ambrogio 2019, baritone Luca Salsi dominated all. His Scarpia was maybe a while’ lacking in nuances in the plan, a little’ blatant in perfidy, but of undeniable effectiveness, both vocal and scenic. Never appreciated him so much either, always seen and reviewed several times. Bad enough, his Vitellius filled the scene: obviously a part that he likes and that he has studied very well even in acting.
But all, on this evening, even the supporting actors, the Angelotti by Carlo Cigni, the Sacristan by Alfonso Antoniozzi and the excellent Spoletta by Carlo Bosi and the Chorus, directed by Bruno Casoni, were catalyzed by a quid that can only be explained by the amalgamation capacity given by the orchestra conducted by Maestro Riccardo Chailly and directed by Davide Livermore.
Maestro Chailly chose the 1900 Puccini "Roma version" edition of the work, in the new critical edition edited by Roger Parker. Some differences with respect to the usual, therefore, a few more muscular phrases, jumped to the ear of the expert music lover, but this fact turned out to be pleasant. So in the third act, for example, on Mario's death, after Tosca's cry, the wonderful motif of “E lucevan le stelle” was resumed.
Everything from the textbook in the orchestra, including original bells, apart from a small incident, with an attack and a stop, then resumed, that also the President of the Republic Sergio Mattarella, present in the royal box at the evening, together with his daughter and one crowd of personalities from politics and culture, he will have forgiven. The times were slightly dilated, but it is a modus operandi of M ° Chailly, we know. However, when there was a need to "tighten", and how if it tightened! When there was to grow, and how if it grew! Great support to the performers, refined dynamics, a solemn, almost epic Puccini, with a symphonic hand and a tragic spirit.
But, given the overall musical data not entirely perfect, especially in the context of a first at La Scala, to return to amalgam, perhaps in this first of 2019 the real miracle was made by the director Davide Livermore, assisted by the scenes of Giò Forma .
The scenic machine was extraordinary, from start to finish, with revolving effects, for which it was not the protagonists who moved in Sant'Andrea della Valle, for example, in the first act, but it was the church, reconstructed faithfully enough, which, turning and scrolling, it moved and placed them in different places.
Accompanied by projections and illuminated by the perfect lights of Antonio Castro, these scenes “contained” a show that from the point of view of the direction was extremely refined and well-kept. Only the costumes of Gianluca Falaschi could have been more sumptuous and more in keeping with the temporal collocation, which for once had been respected. Apart from the care with which each performer was identified with their role, what was striking was the cohesion of the whole: Livermore's direction was the glue that made this Tosca a great show.
The second act is amazing, with a violent realism from Grand Guignol in the death of Scarpia, which Sardou would have liked. Disturbing and volatile those figurines of nuns that wandered around the stage: they looked like little evil spirits in the service of the great villain Scarpia. The tableaux vivents of the second act are beautiful, the frescoes in Scarpia's studio, which emotionally participated in the unfolding of the action and who then welcomed among themselves, at the end of the murderous action, the doubled image of Tosca in the act of striking the tyrant ; as if she too had immortalized herself in a painting and had at the same time estranged herself from the crime she had committed, lying prostrate in a corner.
Also very original is the stage that was partially raised and lowered in crucial moments: at the Te Deum of the first act, leaving Scarpia alone, symbolically, below and the Blessed Sacrament above; in the torture scene and at the end, in which exactly the opposite of the usual took place: Tosca threw herself from the stands, but instead of falling she hovered in the air remaining suspended, in a sense of detachment and freedom from the infamous world that had her carried that far, and everything else beneath her sank.
An ensemble that aroused in the viewer not only appreciation for the work, but also unexpected visual emotions and confirming, in the final applause of approval for all the artists, which lasted over a quarter of an hour, that, as previously said, the Opera is first of all a great theater, made not only of voices and music, but of a mysterious amalgam, which the ancient Greeks knew well; so much so that the effect of the theater was considered to be catharsis.
On 7 December 2019, at the Teatro alla Scala, this miracle was repeated, confirming that the Opera should always be considered as a whole and should be seen live, because it was designed to be seen live.
Quite right, however, that the premiere of La Scala is also broadcast on television and on the web: even if it is not complete, the emotion experienced in the theater certainly reached the sensitive and experienced spectator equally.
Natalia Di Bartolo ©
Seen by William Fratti
The Teatro alla Scala in Milan, universally considered the true temple of opera, one of the few theaters in the world to have an important fixed date for the inauguration for well over half a century, is back on TV with the record of audiences of live television . The title of the tape, the audience that revolves around the leading star, a functional marketing campaign were undoubtedly the main ingredients of this media success. In addition, the sound is much better than that of the live radio and this makes even the most avid music addicts particularly happy.
Riccardo Chailly continues his reading of Giacomo Puccini's masterpieces – after Turandot with the finale by Luciano Berio, La fanciulla del West with the original orchestration, Madama Butterfly and Manon Lescaut in the first versions – with Tosca, presented in the critical edition edited by Roger Parker. The Milanese conductor, while imposing himself as a reference for Puccini's interpretation, at the helm of an amazing orchestra and a vocal cast of the highest level, fails to move as in previous occasions, being extraordinary only in the first part of the second act duet between Tosca and Scarpia and in the beautiful introduction by “E lucevan le stelle” after the shepherd's song. In the other parts of the work he seems perhaps too attentive to a certain mechanical precision, rather than marked by sentiment, but this certainly does not affect his stature.
Anna Netrebko is unquestionably one of the best singers on the planet, endowed with a softness and ease across the range that are unmatched. Comfortable and easy treble, full and full-bodied centers, serious and voluminous, excellently stamped tops, well-proportioned louds, all enriched by a nice legate, an interesting but perhaps a little phrasing.’ measured, good diction except for double consonants. Despite everything, his Tosca is not so exciting and his vocality is preferable in another repertoire, including the Verdi drama.
It is flanked by Francesco Meli's Cavaradossi, also considered one of the best on the entire international scene. The interpretation of him is certainly a winner in terms of colors and shades, but his beautiful timbre and his good use of the scenic word marry better with Verdi's cantabile roles.
The same goes for Luca Salsi. His Scarpia is sung excellently, with a rendition of the character – through the voice – really intense and compelling, but like the other protagonists, despite being all at the top, all number one, none of them is able to give that added value to be the best ever, what could have happened with a different title, for example a Macbeth.
The supporting roles are also excellent, especially the elegant Sacristan by Alfonso Antoniozzi, with a voice that runs and predominates, and the Spoletta by Carlo Bosi, which is always a solid certainty. The Angelotti by Carlo Cigni, the Sciarrone by Giulio Mastrototaro, the Prisoner by Ernesto Panariello and the Shepherd by Gianluigi Sartori are also more than adequate.
The triumphant show by Davide Livermore with the grandiose sets by Giò Forma is, without a shadow of a doubt, created for television – where it is even better than live – and it is a clear and deserved homage to the La Scala theatrical machine – and for this very reason we could have spared a break. The basic idea is almost Puccini's original one, except for a few small moments – like the second act finale – which make the action appear rather empty; moreover, the use of the double does not create any coup-de-théâtre and appears superfluous. The directing work, as usual, is perfect in the balance of movements, gestures, entrances and exits, scenes and backstages, and the characters are very well drawn. The mammoth set up is quite pleasant in the first act, albeit a little’ too busy; it is superlative in the second act; less effective in the third, where the realism of the previous ones is abandoned in favor of an evocative one that leaves the time it finds.
The costumes of Gianluca Falaschi, perfectly fitting for the choir, the extras and supporting actors, fall on the protagonists, especially those of Tosca's dubious taste, that of Scarpia too similar to his henchmen and the questionable wig of Cavaradossi. Antonio Castro's lights and D-wok projections are excellent.
All in all it is a true Tosca, a true Prima della Scala, where every artist deserves the praise of excellence, but the overall result has not led to any enthusiasm. Unfortunately, sometimes perfection is not synonymous with feeling.
William Fratti
PHOTOS © Brescia and Amisano – VIDEOS © Teatro alla Scala, Presidency of the Quirinale Italian Republic