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Subject: Re: Terfel and Tosca (was Re: Faust)
From: Rcfgodoy <[log in to unmask]>
Reply-To:Rcfgodoy <[log in to unmask]>
Date:Fri, 8 Dec 2017 13:37:10 -0500
Content-Type:text/plain
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Please - this was just a little misguided; for really weird, look-up the recent staging from Oslo.  Yikes!  and Yuck!!


What I really don't like about this Te Deum, and what I heard of yesterday's prima of Andrea Chenier from Milan, is Riccardo Chailly's conducting.  I generally like things slow, not crawling; and adding bombast where it isn't needed or warranted.  Perhaps the singing wouldn't have improved, but I'm not sure it could have been better with someone better on the podium.


My 0,02€


Raúl



-----Original Message-----
From: donald kane <[log in to unmask]>
To: OPERA-L <[log in to unmask]>
Sent: Fri, Dec 8, 2017 1:07 pm
Subject: Re: Terfel and Tosca (was Re: Faust)

These appalling clips suggest to me that Terfel meant to say Bondy's
TOSCA wasn't weird enough for him.  Regretfully, the perfect Scarpia
for our time, died only a few weeks ago, but his genuinely thrilling Te Deum
was videotaped in Moscow's Red Square (!), and is a glorious antidote to
this hellish perversion.

dtmk

On Fri, Dec 8, 2017 at 12:12 PM, G. Paul Padillo <[log in to unmask]>
wrote:

> Angelo wrote (in part):
>
> "Bryn Terfel is reported to have told Met people after the disastrous
> Tosca staging that he
> would not return to the company until he approved of the production.  He
> obviously has
> been convinced that the  new Tosca due later this month is more to his
> liking."
>
> * * * * *
>
> I've some serious doubts Mr. Terfel hated Bondy's Tosca (which I enjoyed)
> or refused to
> return in it.  As best I know Terfel and Bondy enjoyed a good working
> relationship, the
> singer garnering enormous success in his highly praised “Salome” in and
> again in Covent
> Garden
>
> As for Tosca, Terfel made a meal of Scarpia in Lehnhoff’s controversial
> production (again
> with Malfitano) so much so that the opera could almost be called
> “Scarpia.”  Lehnhoff strips
> off the baroque trappings and seems to have set Puccini’s melodrama in
> Hell.
> Te Deum finds  Scarpia alone before a large painting of the devil and at
> each cannon burst
> columns covering the stage erupt with flames, the cameras catching
> Scarpia’s malevolent
> sneer, as flames leap up towards him.  It is positively thrilling.
>
> For the second act, Scarpia’s apartment looks to be in an industrial
> warehouse.  A massively
> long two prong staircase dominates the rear whose massive walls go up to
> the fly space.  A
> gargantuan turbine stage right lends an ominous subterranean feeling. One
> immediately
> senses this is not a fun place.  Then there’s Mean Mister Scarpia,
> reclined on an eight foot
> long divan, donned in . . . skintight silk lizard skin patterned lounge
> with matching
> sleeveless vest, stroking a beautiful yellow tabby cat like a Bond
> villain.  Terfel eats it all up
> like a Sunday dinner.
>
> When Tosca first appears at Chez Scarpia, all we see are her red high
> heels coming down
> the first staircase –  shoes she will remove before reclining on the divan
> for Scarpia to
> collect his prize.  It is only after his murder do we realize that the
> massive staircases have
> disappeared and we, along with Tosca are completely trapped.  There are no
> other doors the
> room now converted into an enormous death trap, its only air seemingly
> coming in from the
> turbine.  Tosca goes into a genuine panic during the dumb show – now
> stripped/relieved of
> the pseudo-religious crucifix/candelabra business.  In her search for the
> safe passage
> conduct, Tosca discovers and takes a gun hinting at her later suicide.  As
> if by divine
> intervention a panel opens up and moonlight streams in revealing a hidden,
> secret exit.
> Pistol in hand and fur coat trailing behind her behind Tosca escapes.
> Thrilling.
>
> The final act is on an enormous stage filling disc, the floor of which is
> covered by the
> shadow of light pouring down from the turbine – which is now in the
> ceiling.  The rear of the
> stage gives the feeling of being at the edge of the world – with the moon
> and stars
> reflecting in the night.  After the execution, now fully deranged Tosca
> holds Scarpia’s
> henchmen at bay waving the gun – and one almost senses she’s going to blow
> her brains
> out . . . but instead she runs, flings it to the ground and takes a flying
> leap out the heavens
> that took my breath away – that mane of hair wildly trailing behind her as
> Sciarrone and
> Spoletta hit the ground safely watching her from above.  Loved this, and
> clearly the cast
> reveled in this inspired, unusual regie.
>
> A few photos:
>
> http://www.tiempodemusica.com.ar/archivos_subidos/ImageToscaDVD-1.jpg
>
> http://www.tiempodemusica.com.ar/archivos_subidos/ImageToscaDVD-2.jpg
>
> https://images-na.ssl-images-amazon.com/images/I/51T29iViP0L._SY445_.jpg
>
> And the Te Deum
>
> https://www.youtube.com/watch?v=xMGX19eBf7E
>
> p.
>
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