Puccini - Tosca
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Movie Reviews of Puccini - Tosca
Movie Review: AeroFloria
Summary: 3 Stars
When I saw it, my heart sank. If you're reading this, you've seen it too: The picture of a screeeeaaaaaming Catherine Malfitano, Bryn Terfel lying sleeveless beneath her, and, looming over them, a large...airplane propellor. Hmmm...Could this be another instance of the (Euro)trashing of a classic? Actually no, thank goodness. The production's pretty stylish and interesting; not traditional, by any means, but dramatic and visually arresting. And that propellor? It's not nearly as ridiculous as the sight of Malfitano and her Cavaradossi, Richard Margison, rolling around the floor together. Honestly, I've never seen a more mismatched pair in my life, certainly not on the operatic stage. They're like an artsy, aging Hippie couple in some small town in America -- you know the ones I mean, who run the "art gallery" in the mall, who embarrassingly think they're bringing a bit of Bohemia to the Bible Belt? They're certainly not the type of Floria and Mario we're used to seeing. And that would be OK if their characterizations were more in keeping with the actual libretto. In my mind Tosca is regal and proud, passionate and strong. Malfitano's neurotic and just downright crazy from her first entrance, a cross between Theda Bara at her most melodramatic and Mad Margaret from "Ruddigore." And there couldn't be a tenor with less charisma than Margison; he's lumpish and lethargic, the male Jane Eaglen. To be absolutely fair about it, both sound terrific, but there are plenty of other "Tosca"s on DVD, sung as well -- or better -- with leads that are more the romantic ideal.
Terfel, on the other hand, is one of the best Scarpia's I've ever seen; perhaps in some ways the best. The voice, of course, is magnificent, and what I love about the performance is that he barely breaks a sweat. This is one cool cannoli, not the snarling, mustache-twister we've all seen one too many times -- and yet he remains a scary, menacing presence. He's really the main reason to purchase this DVD. But if he pops up in some other version one day (with Gheorghiu, please), I can't imagine coming back to this one.
Movie Review: So many better Toscas!
Summary: 3 Stars
I mistakenly ordered this thinking it was the version with Malfitano and Domingo in the actual locations, which I have on laserdisk and is an excellent production. But this is not it. This one with Richard Margison as Cavaradossi is singularly unattractive. No chemistry between Margison and Malfitano. And the abstract, modern sets detract from the story. Until the Malfitano/Domingo version is available on DVD, I'd recommend the version with Raina Kabaivanska, available on DVD, also featuring Domingo with Sherrill Milnes as Scarpia. This was also filmed in the actual settings, and is so much more appealing!Movie Review: Not worth it
Summary: 2 Stars
I love Tosca and think Bryn Terfel is a wonderful singer-actor and so I bought this DVD despite the mixed reviews. I should have listened to the reviewers.
I actually liked the set of this opera and the picture and sound quality were top-notch, as was the camera work.
So, what were the problems? Well, Tosca and Cavaradossi! Tosca was decently sung, but poorly acted and Malfitano was simply too old looking to pull off the part convincingly. And, Cavaradossi? Well, he was fatter than I am (picture Santa Claus...) and would not be considered handsome by anyone's standard.
Indeed, I kept trying to convince myself that overweight and ugly middle aged couples can have a wonderful passionate love story between them, but as my wife would say, "didn't need that picture in my head".
When I watch opera, I want believable acting, and part of that is casting. If 10 had starred Estelle Getty instead of Bo Derek, somehow, I do not think it would have gone down as well.
The opera world seems to get the message, which explains why tickets to operas starring Anna Netrebko and Renee Fleming do well...
In any event, I do not consider this Tosca to be worth watching, let alone owning. I did not listen to reviewers who said the same thing, but perhaps you will...
Movie Review: Low quality image and performance!
Summary: 1 Stars
My first complaint is to the quality of the video. I've never seen so many "jaggies" in my life on a DVD! "Jaggies" are what should appear as solid lines intestead appear as a step of stairs - an artifact that can be corrected by very good DVD players. Well the DVD player I have is one of the top ones and it has passed all the "jaggies" test, so the problem is not on the equipment. I also noticed that from afar (in Act 3) one of the singers eyes looked like a black spot. Decca has done a really bad mastering here.
The sound is good though.
Now the performance is another matter. Catherine Malfitano could not do justice to the role at the time the performance was made (1998). She sings with many voices (basically her lows, mids and highs are not well integrated) and tends to squaliness in the higher notes. Malfitano sings in a "Sprechgesang" most of the time which could be appropriate for a Kurt Weill opera but not here (legato for example is nowhere to be found and the wooble is evident). Acting wise she is ok but even at this time (9 years ago) looked a bit old for the part.
Richard Margison as Cavaradossi is predictably disappointing in the acting (he is a bit stiff on stage and of course looks nothing like a handsome painter), vocally he is somewhat uneven. In "Recondita armonia" (aria in first act) he lacks poetry and a sense on how to shape the lines; "E luceven le stelle" (the aria in Act 3) goes even worse, he is totally wooden here, not capable of shaping the lines again. But the voice is at least solid (Malfitano's is not).
Bryn Terfel (promoted in the cover as a sensation) is a major disappointment. Terfel sings Scarpia and this is a fantastic role which requires basically two things, a huge voice, great acting and a true command of the Italian language. Terfel meets the first two but fails miserably in the latter. The voice is big true but Terfel has a problem when the role goes high (and it does a bit in the "Se la giurate fede debbo tradir...Gia mi dicon venal"), basically Terfel cannot go that high and starts to shout - Scarpia is usually sung by baritones and Terfel is a bass-baritone. But what is really not good is his interpretation, Terfel fails to portray the character, he just portrarys Scarpia as a burly thug and other singers (Ruggero Raimondi comes to mind) have found much more. Terfel also fails to enunciate the text and as sung here it seems cares nothing about it (which is unusual for him), just listen to the lack of subtlety when he sings "...la Marchesa Attavanti, il suo stemma...", this line is full of inflexions and Terfel sings it as if he was reading the NY phonebook.
Riccardo Chailly delivers a routing conducting, nothing bad but nothing good either, there is a lack of fire coming from the pit; he is too cool for a piece that requires passion (any Puccinian score requires that). The Concertgebouw Orchestra is marvelous though.
Nikolaus Lehnhoff's production is a total disappointment (and I usually like his productions, some/many do not). It can be summarized as the "Tosca Turbine" production. According to the leaflet (included in the box), Lehnhoff puts a big turbine propeller in Acts 2 and 3 to symbolize Scarpia's torture chambers. Well, the imagery failed me! The setting for Act I is more traditional, there is a huge paiting at the center and to the right and left a bunch of huge post lamps (for what purpose?), the set is very dark also. In Act 2, Lehnhoff has Scarpia caressing a cat (I won't even give his explanation since it is so absurd) and dressed in what to me looked like pijamas. Act 3 at least looked interesting (if not related to the libretto at all) and we have the novely of Tosca using a gun to scare off Sciarrone and Spoletta. The only thing I liked was the jump, Malfitano threw herself really good there!
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