Still, what a pleasure it was to hear the music - thanks to Nézet-Séguin’s subtle control - performed with a clear pulse, in a tempo that did not allow for any indulgences. When, in Act I, Cavaradossi, trying to calm his jealous lover’s suspicions, turns to Tosca with a lyrical outpouring that begins their duet, Jagde and Radvanovsky sang with plenty of melting lyricism. While giving singers expressive leeway, he maintained shape and direction and favored slightly brisker than usual pacing. It contains depictions of torture, murder and suicide, yet also includes some of Puccini’s best-known lyrical arias, and has inspired memorable performances from many of opera’s leading singers. Ken Howard/Metropolitan Opera By Anthony Tommasini Dec. The work is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples’s control of Rome threatened by Napoleon’s invasion of Italy. He simply led a splendid performance: rhythmically crisp, transparent, textured and colorful. Sondra Radvanovsky and Brian Jagde star in a fiery revival of Puccini’s Tosca at the Metropolitan Opera. He didn’t bring an unusual interpretive approach to Puccini’s familiar score. Nézet-Séguin has been maintaining a busy schedule this fall, including Met runs of two demanding contemporary works, “Fire Shut Up in My Bones” and “Eurydice” in the announcement he said he needed some time to “re-energize.” Though it was a concerning decision, and it's disappointing to lose him for “Figaro,” if taking a short break will allow him to keep summoning the kind of energy he had for “Tosca,” then so be it.
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