Puccini - Tosca (Remastered)
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Movie Reviews of Puccini - Tosca (Remastered)
Movie Review: Excellent
Summary: 5 Stars
Excellent audio-video! Always a pleasure to see a Met/Zefarelli production. While the "movie" versions are very well done, I prefer to see the staged versions and the Met and Franco are tops! This a remarkably crisp image for a older production. The remastering is superb and the cast is world-class, of course.Movie Review: A Teen's Review
Summary: 4 Stars
This was the second time I have seen Tosca and, frankly, the staging was so much better than the movie-version with Gheorgiu and Alagna that I could forgive alot.
Domingo and Behrens sing Cavaradossi and Tosca. There is absolutely no statement fitting to describe Domingo's performance. His "Amaro sol per te m'era il morire"(I think thats what its called), sung just before Tosca comes to the dungeon, was extremely well-sung and acted. Domingo was by far the best actor of this period, and he shows that fully in his noble performance of Mario.
Pavarotti could probably have sung it "purer", but no one could match Domingo's passion and sorrow.
Extremely well-done.
Sinopoli, to my mind was fabulous, although he did get ahead of the singers at times.
Behrens and MacNeil however, were not as good, although defintely tolerable--and even enjoyable. Macneil had an imposing presence as Scarpia, but his voice was tinny and not particularly powerful. Behrens was fabulous in Act 1, but the second part of Act 2 and Act 3, her voice gave out horribly.
However, her acting was amazing. Although she was obviously much older than Floria, she made you believe in her. It was incredible. I had started the opera reluctantly, really only watching it because of Domingo.
I was stunned by how she made you forget her appearance and see the dark-haired actress.
This was a great production, and I will probably be watching it as much as possible.
Movie Review: Behrens is vocally there but that's basically all she's got going for her
Summary: 4 Stars
It's unfortunate, and really really superficial, but the visual close ups on this DVD have exposed perhaps the greatest weakness in this production of Tosca.. Behrens is simply too over the hill to do this role any justice.. She's got a voice.. that she does.. and from a birds eye view in the bleachers of the Met, this may not make a world of difference.. but on the DVD, it does.. and Behrens is simply not convincing both from an acting standpoint and visual standpoint.. (her costume looks way out of wack and her hair looks pretty bad.. she just looks uncomfortable the entire time up there as if she knows that there's something wrong..)
On the other hand, Domingo is totally a hoot as Cavaradossi giving us one spectacular performance after another.. (he too was in his 40s when this opera went into production but unlike Behrens, Domingo is convincing!)
In the end, once again, it's Domingo's brilliant versatility that shines through.. what an incredible musician..!! (the pit is tight as well.. conductor Giuseppe Sinopoli looks like he worked them to death..)
Although Cornell Macneil (Scarpia) has lost some resonance, his incredible acting really makes up for it!!!
This production is worth getting just to see Domingo (a bit past his prime perhaps but one would never ever know it!!!) He's just a superstar..
there's nothing else to say..
Movie Review: Before there was Mattila, there was Behrens
Summary: 3 Stars
I recently watched the tape of the new Met "Tosca." For the most part, it was highly criticized due to
the controversial production. But within minutes of the leading lady's entrance, I was immediately
reminded of the sound of Hildegard Behrens in this staging of Puccini's masterpiece featuring
Franco Zeffirelli's lavish production (which was so much better than the recent Bondy fiasco.) Mattila's
voice, like Behrens', seemed all over the place. Too many notes seemed fluttery and without a center.
And I love both of these great sopranos! Mattila, currently one of the world's great sopranos, was
tremendous as the lead in Beethoven's "Fidelio," one of the best Leonores I've ever heard. (And I
grew up with Christa Ludwig's.) But she's just not right for Puccini.
And I'm afraid the same is true with the recently deceased Hildegard Behrens, a soprano that I
adored. Not endowed with a powerful voice, she nonetheless conquered very difficult roles like
Wagner's Brunnhilde and Strauss' Salome. I will never forget her Met "Elektra." (Which should be
on DVD.) Unlike most Elektras (including possibly the greatest, Birgit Nilsson) she brought a
likability and femininity to a role that often comes across as a monstrous lunatic. But vocally
she is just not right for Tosca. The first time I watched this otherwise fine performance, it was
actually painful for me to hear the sound of one of my favorite sopranos. It is interesting that
sopranos like the two I have written about can thrive in what are considered the heaviest roles
ever written (mostly Wagner) but can't produce the right notes for a part written by a (great) Italian.
Behrens tries very hard here, but I'm afraid it is all in vain.
Everything else here is fine. I have the Kabaivanska/Domingo/Milnes "Tosca" DVD, which
many consider the best available. Domingo is fine (but chubby) in this 1976 film but he is even
better here at the Met. I cannot imagine a better Mario - close to perfection. Cornell MacNeil
is a complete pro and I like his Scarpia. Sure he is a veteran past his prime vocally, but I
think he sounds quite good and his acting is excellent. It is nice to have a performance by the
great bass Italo Tajo preserved, although his Sacristan is a bit of a caricature. Sinopoli conducts
an idiomatic performance and as usual the Met orchestra is first rate. And if you like Franco
Zeffirelli, this is one of his most magnificent creations.
Most of the reviewers here seem to like Behrens' Tosca. I wish I could. I hate to say it,
but she ruins this otherwise excellent "Tosca." And she was the most wonderful artist.
Movie Review: This one is for us ladies.
Summary: 3 Stars
If you are female and looking for a production of TOSCA, look no further. Placido Domingo is at his peak here. He looks marvellous, acts beautifully and his singing is beyond superlatives. I am not even going to try. Ladies, after watching this, I went to bed and dreamt of Mario Cavaradossi and how I would NEVER have put him in danger!
Before I get to the opera itself there are two marvellous extras on this DVD - THANK YOU, DEUTSCHE GRAMMAPHON. In one Franco Zeffirelli takes you on a tour of the three Roman locations of the opera and discusses his view on the relationships between the three main characters. The other is an interview with Ms. Behrens, Mr. Domingo (drool) and Mr. Macneil.
I am at a loss to understand complaints that Ms. Behrens looks too old. She is not supposed to be a movie actress but an opera singer. How many very young opera stars are there? Anyway, why can't Cavaradossi fall in love with a woman older than he is?
That said, the perfect Tosca would be perfectly balanced between the three main characters. Here, Mr. Domingo is just so much better than the other two that the production is out of kilter. Mr. Zeffirelli explains that he sees Scarpia as a dangerously attractive man, and that Tosca is attracted despite herself. In killing him, she is striking out at that unwelcome attraction as well.
That sounds great, but neither Mr. Macneil nor Ms. Behrens can bring it off. Scarpia comes off as real nasty, though Mr. Macneil's singing, and his acting in the death scene are tremendous. He is particularly good at the end of Act I, where his positively blasphemous thoughts are expressed against the choral backdrop of the Te Deum. Ms. Behren's voice came across too thin, to me, except in "vissi d'arte". She was excellent in Act III.
The sets and staging are gorgeous. That alone makes the opera worth buying.
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