Tosca shines at the Teatro Real

Tosca shines at the Teatro Real
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Tosca shines at the Teatro Real
Tosca
Giacomo Puccini (1858-1924)
Melodramma in three acts
Libreto by Giuseppe Giacosa and Luigi Illica, based on the work La Tosca by Victorien Sardou
8 July 2021 Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: Paco Azorín
Costume designer: Isidre Prunés
Floria Tosca's wardrobe: Ulysses Merida
illuminator: Pedro Yagüe
Video: Alessandro Arcangeli
Choreographer: Carlos Martos de la Veja
D. choir: Andrés Máspero
D. Little Singers choir: Ana González
Distribution: Maria Agresta, Michael Fabiano, Gevorg Hakobyam, Gerardo Bullón, Valeriano boats, Mikeldi atxalandabaso, David Lagares and Inés Ballesteros
Titular Choir and Orchestra of the Teatro Real and Pequeños Cantores de la JORCAMA 1889, Puccini has just had a resounding failure at La Scala with the premiere of Edgar. After a few weeks he writes to his editor Giulio Ricordi, to ask you to ask Victorien Sardou for authorization to adapt his work La Tosca (1887).Sardou's work had toured the main European theaters with great public success, starring Sarah Bernhadt. Puccini, who had attended a performance, He was captivated by the scenic power of the character and the theatrical way of mixing the passion of love with the passion of the political and ecclesiastical powers. He then instructs his two librettists, who had just had a huge success with the Bohéme, that they begin the works of a new libretto that will be the envy, among others, Verdi himself, Tosca became a clear example of verismo. Not without first being suitably sweetened to please the most exquisite palates., who did not hesitate to criticize a libretto and characters not very refined. Puccini's Tosca was more sophisticated and feminine than Sardou's, but the changes were not only focused on the characters. Puccini's music made a great difference and a break with the operatic conventions that went back to the baroque. The fluidity of the plot favored the whole and the, until that moment, almighty arias, were dissolved and intertwined within the globality of the work. In Tosca the arias are reduced to three, that if, of enormous personality and beauty. "Concealed harmony", that Cavaradossi plays in the first act, “Art worms”, emblematic aria by Floria Tosca and “E lucevan le stelle”, also performed by Cavaradossi just before he died. Tosca's success, as a representative of verismo, is in his ability to create climaxes with unbearable dramatic tension. Another characteristic of Tosca is the use of leivmotivs, that without the sophistication of the Wagnerians, they were very dramatically effective and very Italian taste. The most important and constant throughout the work is the one that represents the evil Scarpia, chief of the political police and whose leivmotiv is a true musical metaphor of the political terror of the dictatorship that dominated Rome at that time, as shown in one of the sentences Tosca directs him after assassinating him, "And before him all Rome trembled!"The Tosca production that is now being presented by the Teatro Real, is a co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville. The stage direction has been in charge of Paco Azorín. You can tell that it comes from the world of theater. Perform three different scenes with a single stage, taking advantage of the mobility and resources that the Real offers and that no others have, as demonstrated in the third act, making two scenarios disappear and appear simultaneously in a spectacular way Azorín takes too many licenses during the work. Projected phrases appear on the scene that have nothing to do with the libretto and that repeat the word revolution like a tiresome mantra., those to which some have been late. Nor does it have to see or make much sense of a naked woman who appears at key moments, reducing prominence to the scenes and characters and that, according to Azorín, it is freedom leading the people, by Delacroix. Imagination is not lacking, as a whole the scenery has interesting elements, like the eyes, like a big brother, who watch Tosca. Or the impressive scene of the Te Deum and, especially, the good disposition of the singers on stage The musical direction of Nicola Luisotti greatly favors this type of work. His way of leading, full of energy and musicality, accentuated the spectacularity of the brightest scenes. It created dramatic tension and allowed moments of respite and intimacy in the right way.. He knew how to obtain from the orchestra the Italian character that breathes the work, the deliveries on this occasion are spectacular. Three are the Toscas, Anna Netrebko, who will be alone in the functions of the 21 Y 24, Sondra Radvanovky, with a homogeneous and sonorous voice whose capacity for dramatization makes this character a perfect fit and María Agresta, our protagonist today. It also has a remarkable dramatic ability. His Tosca is more subtle and sentimental, also vocally. It is a role for Tosca who has his difficulties and Agresta solved them better in the second and third acts than in the first. But he also had moments of brilliance, his “Vissì d’arte” was full of emotion. Quite a feat considering that she had to interpret it lying on the ground.For the role of Mario Cavaradossi we have four tenors. Joseph Calleja, of beautiful and warm timbre, Yusif Eyvazov, who happens to act the same days as his wife, Anna Netrebko, the mediatic Jonas Kaufmann, just two functions too, and Michael Fabiano, which was rather static on stage and lacking in naturalness. Luckily it was more inspired by the vocal. Acceptable its "hidden harmony", and quite well in "E lucevan le stelle", apianando with gusto. It was the most applauded of the night, Gevorg Hakobyan's Scarpia lacked stage presence and, at times, also vowel. Started well, but he was losing evil as the moment of his death approached. Has some good bass and baritonal, but his Scarpia lacked carats. It does not help in these cases to have Carlos Álvarez in the other deliveries, who has built a magnificent Scarpia or Luca Salsi, that accompanies the Netrebko marriage.The rest of the tablets had a good performance. Very good Gerardo Bullón in his role as Cesare Angelotti. Valeriano Lanchas played a determined and carefree sacristan. Mikeldi Atxalandabaso, como Spoletta, he complied with his usual professionalism, like David Lagares, with his Sciarrone and the beautiful voice of the shepherd boy by Inés Ballesteros.Magnificent the Intermezzo Choir, Holder of the Royal Theater, that continues to give a lesson in professionalism and effort facing and defeating the elements and masks. Well also the Choir of Little Singers of the JORCAM, under the direction of Ana González. With Tosca the lyrical season of the Teatro Real ends, a season that can be classified as historical. Where the artistic quality, who has had it, may be left in the background to a difficult and extraordinarily courageous decision that the Theater made a year ago, stay open and with your schedule, despite the global pandemic situation showing, that it was not only possible, otherwise necessary, raise the curtain text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real