To close the 2022 season, the Teatro Colón was launched a strong bet with no less than ten performances of Puccini’s Tosca, one of the most loved titles by the public, with three casts, one of which is led by Anna Netrebko, and other guests to which solid local elements are added.
Based on a French drama Victor Sardou and written for Sarah Bernhardt, coarse It is one of the few works that can be placed on a very precise historical date, in this case 14 June 1800 (during the advance of the Napoleonic army and coinciding with the battle of Marengo), and also in very specific places of Rome.
For this reason It is one of the works that admits less space-time relocationsand it is dramatically and musically so well constructed that it is enough to precisely grasp the indications of the libretto and the score for the machinery to work.
Common sense to replace
with common sense once again it has opted for the replacement of a production that is among the most traditional: that of Roberto Osvaldoalready seen on several occasions in Colón and in other scenarios.
Of the three impressive stage sets, those for acts one and two pay homage to a particular type of set design cultivated in eighteenth-century opera seria and known as scene by angle; the third appeals to bodily structures to evoke the terrace of Castel Sant’Angelo.
A very careful replacement work, the lighting of ruby count and knowledge of Pencil Hannibal of the director’s aesthetic of anyone who was a collaborator, join a a visually sumptuous show that does not disappoint.
The cast
the Italian Maria Pia Piscitellialready known in our environment, it offered a solid composition of the protagonist, with remarkable musical and recitative nuances, only stage presence and natural gestures.
Despite a bumpy start to his big moment, view of the art (Puccini sets a trap by leaving the unaccompanied voice in a complicated modulation), the interpretation of the aria it has grown to be vibrant and exciting.
The Argentine tenor with an international career Marcellus bridge He has many of the elements that a good Cavaradossi requires: youth, appearance, scenic ease, musicality, sensitivity. Even though his voice seems more lyrical than the writing requires, and a constant vibrato makes his delivery unsteady, his performance had an impact and his two arias were applauded.
Since his entry, the Serbian baritone Zeljko Lu ic influenced by his stage presence and her voice, more powerful than brilliant. The sexton composed by Louis Gaeta the singers assigned to supporting roles are effective: Mario De Salvo as Angelotti, Iván Maier as Spoletta, Cristian De Marco as Sciarrone, Claudio Rotella as the Jailer, and Florencia’s shepherd boy García Barrera.
on the podiumCanadian Keri-Lynn Wilson gave a vibrant reading, in moments of excessive volume compared to the stage but in others of great delicacy and expressiveness; the clarinet solo that introduces the aria deserves a special mention And the stars were shiningresponsible of Charles Cespedes.
There were no major rhythmic delays in two of the more complex scenes: the monumental one Te Deum which closes the first act and the off-stage cantata at the beginning of the second; in both the Coro Stabile stood out for its excellence directed by Miguel Martínez, and in the first the César Bustamante’s Children’s Choir.
In the final ovation, in addition to recognizing the artists present, Even the memory and gratitude towards Roberto Oswald seemed to float in the air.an artist who has marked the history of Colombo and who today, in light of so many sterile claims to originality, deserves to be valued in all its dimensions.
File
coarse
Qualification: Very good
Author: Giacomo Puccini musical direction: Keri Lynn Wilson Direction and costumes: Aníbal Lápiz (based on the original production by Roberto Oswald) Stay: Teatro Colón, Tuesday 22 November. Repeat on November 24, 26, 27, 29 and 30 and December 1, 3, 4 and 6.
WD extension
Source: Clarin
