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December 13, 2004
Scottish Opera Tosca
Opera companies are constituted in different ways. Some are dominated by conductors, other by directors, occasionally they are run by singers, or even ex-carpenters or stage hands. Some are based on a famous building, others on a chorus, or a fine ensemble of soloists, or an orchestra. The point is that there has to be something at the core of a company to give it life.
After the performance of Tosca by Scottish Opera in Edinburgh on November 30, I’m delighted to say that this politically-battered company does have a core - an excellent orchestra.
Conductor Guido Ajmone-Marsan inspired a consistently beautiful and dramatic reading of the score from his players. The chorus also acquitted themselves well, though they don’t have a lot to do in Tosca, except for the impressive Te Deum ending to Act I.
The main weakness of the performance was the drama direction - there didn’t seem to be any! The blocking was awkward, singers sauntered on and off with little feeling for the tension of the drama, and the action was not synchronized with the text: enter a relaxed Angelotti (who should be in fear of his life), sings ‘Ecco la chiave!…’ pauses, goes to wall, picks up key etc. etc.
The principals were strong rather than subtle, but rose to the big moments. In Act II, John Hudson as Cavaradossi sang an impassioned ‘Vittoria! Vittoria!’, and Elena Zelenskaya delivered a fine and studied ‘Vissi d’arte’. Unfortunately Hudson and Matthew Best as Scarpia sang the Italian with so little fluency, and such awkward phrasing, that one wished they were singing in English. Given that the action was so unfocussed, it is likely that they didn’t entirely understand what the words meant. Zelenskaya may be in a different class, but unfortunately she made little attempt to act the role as well as sing it.
The staging was set in the Fascist period, rather than Napoleonic times. This made little difference as the locations are unchanged. However there were some over-the top touches to liven up the old war-horse. Scarpia was in bed with a prostitute at the beginning of Act II, despite the fact it is early evening and he is waiting for Tosca. (He is obviously insatiable!). Also at the end of Act Three, the Castel Sant’Angelo was lit up by rockets, like a firework display. The Americans had arrived!
This was my first visit to the Dress Circle of the Festival Theatre, it’s notable how much better the acoustics are there than in the stalls.
Posted by Simon Holledge at December 13, 2004 10:54 PM
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