Taking a stab at Tosca - Gheorghiu, Kaufmann and Terfel

Tosca - Royal Opera House, 14 July 2011

Talk about a hot ticket. Queuing for the 67 day seats for this Tosca started the night before. But after a season short on star power, the lure of Gheorghiu, Kaufmann and Terfel (for just two shows) is hard to resist. Even if the staging is well-worn, and frankly not that exciting in the first place.

What really delivered the thrills tonight was a phenomenal performance from Tony Pappano and the orchestra. Rock'n'roll loud, raw as they come, the music swept everything along before it. Applause intruded only once, after Vissi d'arte. Not because the singing was indifferent (quite the opposite) but because the story's flow was simply unstoppable. A masterpiece of pacing.

Even Angela Gheorghiu gave a credible performance. She began, as usual, by impersonating an opera singer, but Bryn Terfel seemed to bring out something more real in her. (It helps of course that in this role flouncing around and pouting is a valid artistic choice). Never mind the underprojection, the prompting (and she still managed to muck up some lines) and the loss of vocal lustre.  By the end of the first act Angela Was Tosca.

It's three years since Jonas Kaufmann first sang in this production and his interpretation has grown up too. His Cavaradossi is a serious-minded political activist. The painting is a sideline and even his love for Tosca seems at times more diversionary than passionate. He was in superlative voice, holding notes rock steady on an endless stream of breath, the tone bronzed and effortless.

Bryn Terfel was if anything even better. The sometimes frayed tone of recent months is gone - in its place the booming health of former years. Every note, every word, every gesture is pared to perfection, creating a Scarpia of terrifying stillness and power, like an animal waiting to pounce. It's a tragedy he now spends so much of his time on concerts. No doubt the pay's a lot better, but it's opera's loss.

Perhaps when Bryn finally hangs up his jackboots, it'll be Lukas Jakobski's turn as Scarpia. A big guy with a big voice, he made a notable Angelotti, not remotely outclassed by the starry company he kept.  

 
 
 
  
 
 
 
 
 
 
 
 
 

production photos (above) - Catherine Ashmore / Royal Opera House

curtain call photos (below) - intermezzo.typepad.com

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Comments

[yvette]

I can feel through your writing and great photos it must have been superlative... Thanks so much for this 'throbbing' post..thanks for sharing.

[Jezabel]

Interesting to see the prompt box back in situ - can't remember the last production I saw it at Covent Garden! I wonder whose benefit that was for...

[Ruth]

Jezabel - there was a prompt box for Adriana Lecouvreur too. With two cast members in common, and only one of them prone to forgetting their lines, I wonder...

[James]

Marvellous piece. After weeks and weeks of hunting, finally managed to get a ticket for Sunday. But you have illuminated why ("It helps of course that in this role flouncing around and pouting is a valid artistic choice") my anticipation was in no way tempered by casting.

[miranda morad]

O.M.F.G. as someone posted on Twitter. I couldnt agree more with that and also your review which is, as usual, spot-on. I had totally given up all hope of getting a ticket to this and as a last ditch attempt tried the returns queue from 6pm. It was clearly my luckiest day EVER - I must have been the last person to squeeze in before curtain up. It didn't disappoint. I dont know who was more thrilling, but got to give it to Pappano for such an unbelievable sound. He turns that orchestra into a pouncing, trembling, roaring jungle animal. Kaufmann, that voice sends shivers down my spine every single time no matter what he does with it. I agree with your interpretation of his interpretation (thanks for that, I could never put my finger on it so well). Bryn - the master of repulsive greatness. All together it had a feel of them all giving it 200% for one another, the cameras, Tony, and last of all, us...... the luckiest night of my life. Thank god its recorded.

Anyway can someone tell me how does the prompt box work, where is it and how do you know they are using it? Is it like an autocue? Weird. Anyhow, for simple folk like me I wasnt aware of it so it didnt bother me.

Was a bit bemused by the folk in front of me, one of whom said "WOW, I keep forgetting there is like, a live band, man" All sorts at the opera, it seems.

Can I just say again, Jonas Kaufmann. He is the dogs bollocks.

[Michael]

You must have been sat pretty much directly opposite as I could see the prompter's box like that too - although naïvely, not sitting in that position too often, I thought it was always there :/

An excellent night and Act 2 really brought out the best in Ange - sitting so close to the stage her facial expressions and acting were excellent - looking for the safe passage note on the table, scattering the papers everywhere (that not far off landed in the pit).

Orchestra was terrific but the almost 'possessed' noises constantly made by Pappano started to annoy me after a while!

[miranda]

Michael - you are so right! It's possible to hear Pappano huffing, puffing & wooffling even half way back in the stalls. Can be most distracting if you are too close. My headphones can detect it on the Madame Butterfly recording and is definitely distracting there. However, quite honestly I forgive him anything if that's what it takes to get a sound like that. Not sure what how the first violinist feels though - I wouldnt be surprised if there was serious spittle flying about the pit!

[Kit Gill]

Pappano "huffing puffing & wooffling" was off-putting even up in the amphi! Someone really ought to say something - I'm sure he's not aware of it himself, but its getting like certain lady tennis players. A great night though, and Bryn was beyond any description of good.

[Blue Baby]

A brief summary of the curtain call for those who weren't lucky enough to be there last night; Georghiu milked the applause like a cow, Kaufmann carried her train like a bridesmaid, Pappano nearly trod on her bouquet and Bryn looked like he wanted to run away :)

[Liane]

I was also there yesterday, sitting in the fourth row where I could see the faces very well and I agree with everything said about this superlative performance and the brilliance of Pappano. For me he is the greatest conductor, certainly of Tosca. Jonas for me is fabulous whatever he does and everytime I hear his voice it sends shivers down my spine and goes direct into my soul. Terfel in my opinion and the times I saw him has always been great but never quite so convincing. He IS Scarpia for me and all the others pale next to him. I came out of the opera house moved and elated. I had only seen Tosca a few weeks before with the other cast and no Pappano and it did nothing for me. Angela also for me WAS Tosca.

[EC]

"Even Angela Gheorghiu"? Couldn't resist sneaking that in could you :-)

I for one think she's a fantastic actress, particularly relative to other sopranos out there. Her Marguerite was fantastic (last time with Terfel and Alagna - who was in the audience last night).. Looking forward to that in September.

Her voice has lost some resilience, but the sound she makes is almost incomparably beautiful. People love to hate her, but she's still an incredible singer.. when she shows up(!)

PS. I definitely agree RE. Pappano's noises. He was relatively sedate last night. Love his work, but wonder whether he could be a little more quiet..

[Rose-Mary Hyslop]

Wow, what a cast! Wish I could be there.

[Miranda]

Liane: I agree with EVERY WORD you say. I sat there bolt upright in my seat with every nerve end tingling with anticipation during Jonas's arias. I was wondering who if anyone else feels like me, and clearly you do! "shivers down my spine and goes direct to my soul"- Oh yes. I'm so glad I'm not crazy mad or imagining things. I am still elated. Next time can you sit next to me?!! Sometimes I feel completely crazy to be so moved by this stuff.....

PS, EC- I also love it when Angela actually lets rip. I didn't think she was tiny last night - it was a beautiful, unique and warm tone.

However what do you think of that audience snigger when she tried to hold out for more applause after Vissi d'arte? That was quite funny. Do you think Pappano agreed not to start up again until she agreed she'd had enough love?? slightly awkward hey

STILL REELING

[Laura]

Bryn Terfel really blew me away last night - it's unbelievable how amazing and terrifying his Scarpia is. Jonas, too, was in top form and sent shivers down my spine.

I was rather surprised by Angela. With last summer's Traviata fresh in my memory, I was very much afraid she would ruin the scenes with Bryn and Jonas. However, it seemed her co-stars really brought out the best in her. And Pappano really worked miracles too! To me, she was a very convincing Tosca last night. And of course, acting-wise the role fits her perfectly too.

All in all, a very exciting night at the opera.

[Stephen]

"..after a season short on start power.."

You mean like Gheorghiu, Kaufmann and Borodina (Adriana Lecouvreur); Botha and Westbroek (Dutchman); DiDonato and Podles (Cendrillon); Osborn and Finley (Pearl Fishers); Hvorostovsky (Rigoletto; Alagna (Aida); Koch and Villazon (Werther); Beczala (R&J)l Keenlyside (Macbeth)?

[Opera Beginner]

EC - 'Pappano's noises [were] relatively sedate last night'? Not in the Balcony. Not only did we have to cope with a serial cougher in our midst – about the only part she didn’t cough in was Vissi d’arte but nevertheless waiting for her to cough was terribly distracting – and Tony Pappano's fairly regular 'huffing puffing & wooffling', neither of which were in the score. I agree that someone really should have a word with him...

[Morgan]

I am immensely excited about seeing this tomorrow evening - lets hope the performance is as good as it clearly was on Thursday!

[martin]

Pappano and orchestra; just fabulous.
(agree about Tony's audibility ; I could hear it standing at the back of the stalls).
La G ; just fabulous.
Terfel ; just fabulous ; perhaps the best of the lot, and best performance from him I have seen in the role.
Kaufmann ; well, I think him a truly wonderful tenor, but somehow for me on Thursday he did not quite do it. Can't really put my finger on it. No doubt every performer was conscious of the recording, but for me it showed with Jonas. I felt the lingering louder or higher bits seemed to come about because of the mikes rather than because he was in state of grace mode. But lest that sounds as if he was not good, be assured he was.
And I am clearly in a minority of one on this anyway. I'm lucky enough to have a seat for Sunday, so perhaps I'll join the majority by then.

[Liane]

@Miranda,
You are quite right though I did not really notice it at the time, she did linger after Vissi d'Arte and Pappano obliged, but I think she really deserved the "Love". After the performance she was positively radiant.
She really was a "Tosca" in every respect and I am not really a fan of hers.

@Martin
I don't agree at all with what you say about Jonas. He is so laid back before, during and after a performance and in fact always,that a "small" thing like a camera would not make him try harder. I thought his performance was really brilliant and most convincing.

[stan]

Making a recording should not mean mics are amplifying the performance for a hall, and as we all know amplification has no place in an opera house...

[Miranda]

Who's going tonight? WISH I WAS :(

[Andres]

I am going. One hour to go!! After reading some of the posts I'll be particularly looking forward to hearing Pappano's sounds too.

[James]

Tonight's made me come over all Nick Hornby - on the point of contriving "Best 10 Performances I've Seen in an Opera House" so that this can slot in at #1. Truly astounding performance. Never been so convinced by Gheorgiou before, but Kaufmann and Terfel in another dimension still - Kaufmann with that astonishing voice and Terfel the most complete operatic artist I've seen. Even his eyebrows seem to act with exquisite musicality.

[Lucy]

Loved, loved, loved Kaufmann and Terfel tonight. Was the 1st time I was seeing Jonas live and was so excited to see him - he did not dissapoint. His voice is the reason I've become more interested in Opera. There is a warmth and depth to his voice and the way he uses it is truly unique. He is a fantastic actor too and I could listen/watch him for hours. He made me cry tonight.
I've always like Terfel too and he brought more to the role than I was expecting.
What can I say about Angela? Great voice but no actress - found myself thinking of shopping lists when she was singing - Sorry!
Roll on festival hall 24 oct, and Birmingham 7th March!!

[Vecchio John]

Best ever Tosca. As simple as that.

[martin]

Yes, this was indeed a performance to treasure.

On a personal note, I can at least also put my finger on why I was not blown away by Kaufmann on Thursday. Last night his singing moved me to feel he did care about, and live for, "Art" and "Love" (Puccini originally planned Tosca's big number for the tenor) whereas on Thursday, despite the signing being excellent, he did not move me that way (although I was a minority of one on Thursday !).

[miranda]

@Lucy see u there (RFH & B'ham). I vow to never a miss another opportunity to miss hearing that voice. However I know NADA about Straus and Mahler. can anyone help?

[miranda]

or Strauss for that matter

[Kit Gill]

@ Miranda: the audience titter at the end of Vissi was as a result of Terfel (sitting well to the side so not visible to all) giving her a slow handclap (in character as Scarpia, obviously). I can't decide whether this was a brilliant bit of direction, or a confusing bit of business. On Sunday I sat on the right so couldn't see him do it, and the audience reaction did seem odd! But for all her Diva-ness, this was not Ange's fault!

[miranda]

@Kit - thanks for the explanation, it all makes sense now! I didn't see that, and I honestly wondered if she had an agreement with Pappano not to get going until she gave the signal. Someone next to me whispered - "is she going to do an encore" even I knew that was never going to happen! I was a bit upset because I would have loved to have been able to whoop and cheer myself to death after the other big arias, even in the middle of 'Vittoria' (a la Parma) but no doubt I would have been booted out, it's so not the done thing here is it? Shame, I say

[Liane]

@Lucy and Miranda, also I will be at the RFH, sitting in the second row and Birmingham, as well as in Bamberg and Munich pretty soon. Can hardly wait.

[Ruth]

Kaufmann's voice was like silk and I was just melting....... Like in the good old days with Domingo (but different). Having seen Terfel the first time in broadcast of Walkure, he convinced me being soooo evel. It was wearth every penny spending on the flight and hotel for this short weekend. Feeling still like being "on drugs" with my feets and shoes not touching the floor, like the performers were last evening

[Anne Hart]

Saw the film of 'Adriana Lecourvreur' last Monday evening at Empire Cinema, Swindon. What a beautiful performance by all concerned. I am so grateful to ROH for allowing these relays. Have managed to get several people interested in opera as a result.

[Anne Hart]

Oops! Black mark for miss-spelling 'Lecouvreur'.
'Tosca' is the next film, and I cannot wait until the 20th November.

[FragendeFrau82]

You are so lucky to be able to see these. Neither is being shown in my area (or in a 200-mile radius) because they are not "live". I decided to forego Adriana but will be making a road trip to (I hope!) see Tosca.

[Felicity Christensen]

Where can one get a recording of this performance? Is it a DVD or an audio CD
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Intermezzo replies - they shot it for DVD - not sure if it's out yet.