Tosca returns to Madrid’s Teatro Real to conclude the theatre’s season in the form of director Nuria Espert’s 2004 production.
Tosca is one of Puccini’s three grand masterpieces along Madame Butterfly and La Boheme. Puccini’s crowd-pleasing operas have been labeled as too conventional by some, however I find the tonal orchestration and soaring melodies to be emotive and expressively beautiful.
The story of Tosca revolves around the performer’s desperate love for a revolutionary artist. The opera begins within the setting of the church Santa Maria della Valle where her lover, Cavaradossi, is painting a portrait. Tosca is jealous of the woman painted in her lover’s portrait. Unlike this year’s ROH production in London, this set is open and soaring. There is a large cast wandering in and out of the cathedral throughout the first act. Candles are slowly lit; nuns pass through on their way to prayer, laymen on their way to confession. It is a very effective scene before us, which is set. The beautiful chorus in Act I is vibrant and makes the air buzz with devotional harmony.
Act II presents Baritone Lado Ataneli’s Scarpia as a bishop rather than a police chief. He performs well using all the delicate cunning and deceitful power that this villain requires. Tosca’s conclusion of the murder by splashing wine an image of Christ on the crucifix was potent and appropriate. Soprano Violeta Urmana convincingly conveys her dismay and disenchantment with the religion that before that harrowing moment had been her lifelong companion and guide. She plays a strong woman who one could easily believe would attack before being attacked. The entire scene is extremely well staged and makes good use of the vast space that is Scarpia’s private room.
Cavaradossi’s “mock” execution by firing squad is brilliantly set against a stone wall, almost as if his blood were to become the paint of a work of art. Marco Berti brings life to this somewhat one-dimensional character and it takes a great personality to stand up on stage next to such a bold Soprano as Urmana. As the prisoners march in at the opening, children attempt to give the men water. A touching moment before the heart rendering execution and suicide.
I was surprised to hear booing among the audience during the final applause. But this is evidence of a much more open and conversive critique of the opera that occurs in Italy and Spain. Just imagine an American audience, rather than jumping to their feet tat the first sign of a falling curtain, instead remaining seated and vocally criticizing. Never!
Having attended both Messiaen’s St Francis of Assisi and Puccini’s Tosca in one week provided a well-rounded viewpoint of Mortier’s vast capabilities with this opera company. He has amply demonstrated that Teatro Real can both astound with a fresh contemporary piece as well as hit the mark with the crowd-pleasing classics.
Until July 28