Anna Netrebko dazzled with her version of Tosca, at the Colón

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Anna Netrebko, one of the greatest opera stars of the 21st century, was greeted with applause as she appeared on the stage of the Teatro Colón in the first act of Tosca. The Russian soprano sang this Thursday 24 November, in the first of three performances of Puccini’s opera that she conducts with Yusif Eyvazov, under the musical direction of Michelangelo Mazza at the helm of the Orchestra Stabile.

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coarse the 2022 season of the Colón comes to a close, with ten performances, three actors and two directors. The first cast, made up of María Pía Piscitelli, Marcelo Puente and Željko Lučić, was directed by Canadian Keri-Lynn Wilson.

Anna Netrebko gave a sensational performance from start to finish replacing the traditional production of Roberto Oswald. The soprano plays a vulnerable Tosca, at times naive and seductive, but also vehement and gloomy when she falls into Scarpia’s trap at the end of the first act and swears vengeance in church.

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Drama and different colors

Its dramatic deployment is mesmerizing, driving the listener’s mood, accompanied by color shifts in the voice, with great depth and dazzling lyrical warmth. His interpretation of Vissi d’Arte in the second act was captivating and received a standing ovation.

Netrebko he brought dramatic intensity and continuity to the hair-raising scene in the second actwhen the heroine wields a knife to defend herself from being raped by Scarpia.

Before taking up the weapon and completing her action, Tosca is seen hesitantly drinking, takes the knife and leaves it on the table. While she didn’t distract from the dramatic continuity, her signs were somewhat confusing and not entirely justified.

The director did not want to wink at the current times and after having committed the violent act, Tosca mounts the corpse of the sadist Scarpia, played by Fabián Veloz.

His vocal performance was beyond reproach, his bass sounded powerful and his voice was clear throughout the register, however, dramatically, he was not as convincing in the second act – there was something imposter and awkward about his character – as was been in the first .

Your partner’s role

Yusif Eyvazov. Netrebko’s real-life couplehe made an impact with his passionate yet realistic interpretation of Cavaradossi, he contributed his rough and idiosyncratic voice, which he knows how to contrast with a beautiful musicality.

Although the tenor has some difficulty with sustained high notes, his brief moment of victory over Scarpia in the second act was precise and emotional. Applauded in both of his arias, he was especially moving And the stars were shining during the last act, a desperate song, but supported by a heartbreaking farewell story.

The chemistry between Netrebko and Eyvazov was projected into the expressive power of each of the duets.

The supporting roles were, in general, effective in their roles: Dario Schmunck in the role of Spoletta, Cristian De Marco in the role of Sciarrone, Claudio Rotella in the role of the jailer and the shepherd boy of Guadalupe Fusinoni. Less convincing were Mario De Salvo in the role of Angelotti and the Sagrestano composed by Luis Gaeta, he lacked volume and more acting flexibility.

The participation of the stable choir is noteworthy, directed by Miguel Martínez, like César Bustamante’s Children’s Choir. Michelangelo Mazza forcefully guided the orchestra through Puccini’s impetuous emotional current, never interrupting its course.



Qualification: Very good

Author: Giacomo Puccini musical directionI: Michelangelo Mazza Direction and costumes: Aníbal Lápiz (based on the original production by Roberto Oswald) Stay: Teatro Colón, Thursday 24 November. Repeat on November 26, 27, 29 and 30 and December 1, 3, 4 and 6.

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Source: Clarin

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