Interludes

THE HANGOVER REPORT – Anna Netrebko debuts a smoldering TOSCA at the Met

• By drediman
• May 1, 2018
• No Comments

Anna Netrebko and Michael Volle in Puccini’s “Tosca” at the Metropolitan Opera.

Last night, I caught the second cast of Sir David McVicar’s traditional new staging of Puccini’s Tosca at the Metropolitan Opera. I had thought the opening cast – which featured Sonya Yoncheva in the title role, Vittorio Grigolo as Cavaradossi, and Zeljko Lucic as Scarpia – was exceptional, despite a casting merry-go-round leading up to the highly anticipated production’s premiere. The second cast, which has sold out the rest of the opera’s run at the Met, is even better.

Leading the way is Russian soprano superstar Anna Netrebko as Tosca, a role which she’s interestingly decided to debut this spring at the Met, one of the world’s largest operatic stages. Although I felt Ms. Yoncheva’s beautifully nuanced portrayal (dramatically, vocally) was excellent last fall, Ms. Netrebko brings unalloyed passion to her performance that smolders with emotional heat. Although she was in very fine voice last night, I was most impressed with the way she used her instrument to become one with Tosca’s tempestuous emotional state(s) of mind.

Ms. Netrebko is joined this spring by her husband, Algerian tenor Yusif Eyvazov, as Cavaradossi and German baritone Michael Volle as Scarpia. Mr. Eyvazov has a fascinating voice – hefty yet possessing of a ringing Italianate timbre. Perhaps given their offstage familiarity, his volatile scenes of love and jealousy with Ms. Netrebko felt convincing (not always the case). As for Mr. Volle, whose cool, powerful baritone easily filled the large auditorium, I don’t think I’ve ever seen a more effective Scarpia. Apart from leading a chilling “Te Deum”, his dramatic interaction with Ms. Netrebko and the vocal fireworks generated between them in the opera’s second act was some of the finest musical theater I’ve seen this season, anywhere.

Bertrand de Billy led a heated, invested rendition of Puccini’s score, in my opinion the composer’s very best. Indeed, both the Met Orchestra and the Met Chorus were in inspired form last night. As for Mr. McVicar’s detailed, well-appointed production – kudos particularly to set designer John Macfarlane – I feel that it continues to be controversial in its vehement attempt to be noncontroversial. Nonetheless, I think it’s the kind of workmanlike staging that Met fans have sorely missed under General Manager Peter Gelb’s leadership.

HIGHLY RECOMMENDED

TOSCA
Opera
The Metropolitan Opera
3 hours (with two intermissions)
In repertory through May 12