Opera is an inherently theatrical medium that does not lend itself readily to the realism of film treatment. The shining exception is Puccini's Tosca, an action-packed melodrama that unfolds in three taut and gripping acts, like the meatiest of Hollywood films noir. And unlike most operas, these three acts are set in three very specific Roman locales. Thus this 1976 film takes place in the church of Sant'Andrea della Valle (Act 1), the Palazzo Farnese (Act 2) and the Castel Sant'Angelo (Act 3). The evocative settings, however, would be mere window-dressing if the cast wasn't just right; fortunately here Placido Domingo is at his virile peak in the heroic tenor role of Cavaradossi; Raina Kabaivanska is a sultry, vocally beautiful Tosca; while a more infamous and domineering Scarpia than that of Sherrill Milnes can hardly be imagined. Bruno Bartoletti and the New Philharmonia Orchestra give lustily dramatic support. Here the music and vocals are pre-recorded and the singers mime to the playback. Occasionally the result is a little unnatural, but overall the cast are good enough actors to bring off the conceit even in the close-ups. It all pays off triumphantly with the gripping realism of the rooftop finale, the one place where film can improve on stage. With the authenticity of the settings assured and such distinguished leads singing so well, this is an almost ideal filmed Tosca. On the DVD: Tosca on disc is presented in 4:3 ratio with a choice of Dolby 5.1 or LPCM Stereo. The picture is adequate but a little flat (possibly because the format is NTSC not PAL) and the same can be said for the sound, which does what it should but is never revelatory. Subtitles are provided in the main European languages and Chinese. --Mark Walker
Recorded live at the Teatro Real Madrid on 20th 23rd and 25th March 2006. Bonus material/features: Illustrated synopsis & cast gallery. Interviews with Jes''s L''pez Cobos Giancarlo del Monaco Inva Mula and Aquiles Machado.
Opera is an inherently theatrical medium that does not lend itself readily to the realism of film treatment. The shining exception is Puccini's Tosca, an action-packed melodrama that unfolds in three taut and gripping acts, like the meatiest of Hollywood films noir. And unlike most operas, these three acts are set in three very specific Roman locales. Thus this 1976 film takes place in the church of Sant'Andrea della Valle (Act 1), the Palazzo Farnese (Act 2) and the Castel Sant'Angelo (Act 3). The evocative settings, however, would be mere window-dressing if the cast wasn't just right; fortunately here Placido Domingo is at his virile peak in the heroic tenor role of Cavaradossi; Raina Kabaivanska is a sultry, vocally beautiful Tosca; while a more infamous and domineering Scarpia than that of Sherrill Milnes can hardly be imagined. Bruno Bartoletti and the New Philharmonia Orchestra give lustily dramatic support. Here the music and vocals are pre-recorded and the singers mime to the playback. Occasionally the result is a little unnatural, but overall the cast are good enough actors to bring off the conceit even in the close-ups. It all pays off triumphantly with the gripping realism of the rooftop finale, the one place where film can improve on stage. With the authenticity of the settings assured and such distinguished leads singing so well, this is an almost ideal filmed Tosca. On the DVD: Tosca on disc is presented in 4:3 ratio with a choice of Dolby 5.1 or LPCM Stereo. The picture is adequate but a little flat (possibly because the format is NTSC not PAL) and the same can be said for the sound, which does what it should but is never revelatory. Subtitles are provided in the main European languages and Chinese. --Mark Walker
Tosca was revived to great acclaim at La Scala in this 2000 production, which built on Luca Ronconi's 1996 version with musical direction from principal conductor Riccardo Muti and Lorenza Cantini's nightmarishly distorted set. Puccini's most recorded opera is loved and derided in equal measure for its high-octane dramatics, rich arias and the fire-spitting exchanges of the eponymous heroine and her wily tormentor Scarpia. Under Muti, the music takes precedence over the self-conscious theatricality of the book. As a result, some high dramatic points--the stabbing, always tricky, and Tosca's suicide, equally dicey--are underplayed here. Singers of the calibre of Maria Guleghina and baritone Leo Nucci can be relied upon for rounded, controlled performances. Guleghina eschews the ferocity of Callas for a less stately, earthier honesty and enjoys moments of great delicacy, particularly in a sweet "Vissi d'arte". And her grief at Cavaradossi's death is searing. The key to Tosca, though, is the ambivalent relationship between the singer and the chief of police. Scarpia is probably the most toxic antihero in opera, and Nucci could do with a touch more virulence. Even so, this is a fascinating production that strips away much of the traditional artifice and gives real insight into the complex emotions that make the opera so compelling for its devotees. On the DVD: Tosca, like so many operas recorded in the theatre, here relies on the performances to compensate for the camera's inability to convey the overall majesty of the production. The 16:9 anamorphic picture format gives no more than a hint of the crushing power of Cantini's set. Happily, the choice of Dolby Digital 5.1 or DTS 5.1 surround sound means there is no compromise on the sound front. Orchestra, chorus and principals unite in a fluid homage to Puccini's score. There are no extras on the DVD. One minor niggle: careless editing of the booklet notes means that Puccini briefly becomes Verdi in the description of the opera's genesis. --Piers Ford
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