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Subject: Re: tosca
From: E J Michel <[log in to unmask]>
Reply-To:E J Michel <[log in to unmask]>
Date:Mon, 24 Apr 2017 17:25:59 -0400

text/plain (136 lines)

After reading all of the emails, i am not so sad i missed the video
broadcast  of the Baden Baden Tosca.

On Saturday, 4-22, I watched the live stream of TOSCA in concert
performance from the Berlin Phil's home concert hall with a different tenor
who was stupendous!

Stefano La Colla - magnificent!  (wonder about the change in tenors ...
this performance is not listed on his current schedule

I am not a fan of Opolais but she impressed me.   Perhaps not having to
deal with the staging freed her to concentrate on character and singing. It
was the best consistent singing I have heard from her.

Nikitin was good but the thing that bothered me the most  was the very
visible tattoos on his hands - I am not against tattoos but there were many
closeups and some of his are numbers and letters and it was distracting...
I would have had him wear gloves (and yes its a concert performance but the
closeups made it more of an issue than if sitting in the hall)

Rattle and the orchestra stole the show. The clarinetist was spectacular.
And the rest of the orchestra was fabulous as well (and as i always expect)
- i do wish there was a listing of the players - there has never been for
any of the concerts and I miss that - I have figured out most of the
principals but there was a new Principal Oboe ... and no way of finding her

This performance really was incredible - i recommend watching it when its
available in the Concert Archive later this week (usually by midweek)   i
am looking forward to another viewing.

I realize that the Berlin Phil performances are subscription or one perf
ticket only but its the one subscription i would never give up - the
archive alone is worth the membership and with the EU lower than it has
been for years its a bargain.  They constantly are adding from their deep
archives of recordings and performances

Sat 4-22 TOSCA concert performance from Berlin
Kristine Opolais Soprano (Floria Tosca), Stefano La Colla Tenor (Mario
Cavaradossi), Evgeny Nikitin Bass Baritone (Baron Scarpia), Alexander
Tsymbalyuk Bass (Cesare Angelotti), Peter Tantsits Tenor (Spoletta),
Douglas Williams Bass (Sciarrone), Maurizio Muraro Bass (Sacristan), Walter
Fink Bass (Jailer), Giuseppe Mantello Boy Soprano (Shepherd Boy),
Kinderchor der Staatsoper Unter den Linden, Vinzenz Weissenburger Chorus
Master, Rundfunkchor Berlin, David Jones Chorus Master

Best regards,

E J Michel
[log in to unmask]

On Mon, Apr 24, 2017 at 2:05 PM, Derek Lee <[log in to unmask]> wrote:

> Even A Katalin said there's no need to respond, I venture to do so in the
> hope that someone more knowledgeable can clarify.
> I think the illogicality occurred in the adoption process.
> In the play the painting was first commented on in the first
> meeting between Cavaradossi and Angelotti. It was mentioned in passing as a
> transition devise from Angelotti's presence at the church to his
> past trouble (both involved a woman). In the play, Cavaradossi and
> Angelotti didn't know each other. Angelotti took a gamble in presenting
> himself to Cavaradossi, presumably because he heard the long conversation
> between the Sacristan and Gennarino (the painter's assistant) about
> Cavaradossi's background and bet that he would be sympathetic. So in
> that context, it makes sense that Cavaradossi didn't know who the woman
> was. (He was a visitor to Rome and only stayed for Tosca.)
> Both in the opera and the play, when Tosca confronted Cavaradossi about the
> painting, he actually conceded that it was the Attavanti woman. Because by
> that time in the play, he already knew the woman's identity. But in the
> opera it contradicted itself because it eliminated the background scene. So
> why did the librettists invent that first scene? My guess is that Puccini
> wanted to write an "entrance" aria for Cavaradossi, using the two women as
> contrast. And a mysterious woman is more intriguing. Also he didn't have to
> explain who the woman was and presumably divert our  attention from Tosca.
> At least that's how I see it.
> Derek T
> 2017-04-21 18:09 GMT-04:00 A Katalin Mitchell <[log in to unmask]>:
> > I am not sure I can sit through this… but will try.. on the other hand
> > something that has bothered me every time I have seen Tosca, is how is it
> > possible neither the Sacristan nor Cavaradossi, nor anyone associated
> with
> > the church know the “ignota” who comes to pray, when she does it in the
> > Cappella degli Attavanti, a family she belongs to?
> > She would be seen there every single Sunday, how would at least the
> > sacristan not know her?
> > No need to reply, I just needed to vent… this is verismo after all, not
> > Trovatore…
> >
> > And regarding Opolais, have your looked at the MET website lately? She is
> > the cover… in a new role at the Met – Tosca!
> >
> > Kati
> >
> >
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