ahhhh….! Tosca! Dice Scarpia full of desire for her. A similar desire was the classic public of Real towards Tosca. Or to any great opera repertoire they could be an avant-garde way after season and culminated, Besides, by an intense and brilliant San Francisco de Asís.
It is rough as a soothing balm, relaxing, to reposition the amateur classic after having spun his chair and suddenly stop.
And the best way was to rescue the classical and romantic Tosca Nuria Espert It premiered at the same theater in January 2004.
As a grand opera Tosca is not easy to represent today. Partly by known and partly by expectations that. We all have our idea about the work, on each character and whom we associate.
Another difficulty for representation stands at the artistic level. It is not easy for a musical director, encourage some players who have represented countless times these characters. Having the ability to offer a little more in this dramatization of Tosca, or that evil Scarpia, It is not easy. With these great operas must try to flee, At first, Of the routine, and then try to make a success of such a big score like this. Nor is it easy to gather in July a cast as presented on this occasion. musical direction Palumbo, scene of Nuria Espert, scenographer, Ezio Frigerio, Violeta Urmana as Tosca, Marco Berti as Cavaradossi Antoneli side as Scarpia.
Palumbo address was correct. The orchestra was able to draw some important and nuanced moment but, such an important score calls for more, much more. The fighters They were not such delicacy even if was present.
scenography (already known) Frigerio remain unconvinced seven years later. Dark and somewhat deslabazada, as made so rushed, and as I say, in seven years they could do with retouched a bit. It does not improve the direction of Nuria Espert with an approach unrefined. While directing actors on stage, hand there if it shows Espert.
also correct the large crowd that makes up the ecclesiastical entourage at the end of the first act. overwhelming, almost threatening (Espert own Cundo to refer clergy), with a choral presence that reinforces the intensity of the moment.
Marco Berti, as Cavaradossi, He displayed an impressive voice power. Although he released some pepinazo, his sharp are good, little subtlety but good. In the first act lightweight metallic tones appreciated. Very bad record in the passage, poorly balanced, something lacking depth and halftone and lower than detracted emotion in his arias more committed.
Antoneli side, as Scarpia, He was correct. Perhaps he lacked some degree over evil. He would have gotten with a darker voice and powerful, but sings with taste and expressiveness. His end of the first act was at the height of the set, and this, the height, was much.
Violeta Urmana He offered an important Tosca, but it would be great. He lacked coquetry in the fríbolos moments of the first act but from the second, He filled the scene canoro drama with a clean emission, round and sober. A central registry when it was dark and gloomy required, sobrecojedora resulting death of Scarpia and his judgments to this. It is a lady of the scene although his stage performances are poor. Its "did D'arte"I was not round and lacked subtlety, but if it was applauded by a public hungry for lyricism.
Giaconmo Puccini (1858-1924)
Teatro Real, Madrid, 15-7-11
Melodrama in three acts
D. musical: Renato Palombo
D. scene: Nuria Espert
Scenographer: Ezio Frigerio
Distribution: Urmana, Berti, Ataneli,
build, boats, Bosi, Szemerédy.