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Tosca in Bond(y)age: Let My Diva Go!

Puccini's Tosca easily ranks as one of my favorite "desert island" opera staples [You know...the one thing you would bring if you could only choose one such item to bring with you on a desert island (which apparently has electricity...but that's besides the point).].  So, in 2009 I was disheartened to see the lavish Zeffirelli production replaced by the ill-recieved minimalist production by Luc Bondy.  Opera snob that I am, I managed to keep curiosity at bay until this past season (for me, that's quite a long time), when I caved and saw it twice (21 January 2011 and 31 March 2011). What follows is more of a collection of thoughts (mostly on the January performance), rather than a formal review.  

I went in January with a mind to be open to change...and then the curtain rose and hit (as the cliche goes) "like a ton of bricks."  The cathedral interior for Act I was overwhelmingly austere, even drab. What has traditionally been a richly decorated cathedral looked like a back alley: brick walls everywhere. Shouldn't the melodrama of this particular opera be nested within layers of a sumptuously melodramatic visual feast? But it wasn't all bad.  In fact, to give credit to Mr. Bondy and Mr. Peduzzi, the set enabled the audience to focus on the singers, round figures on a flat background. This, I could find acceptable (and possibly, with time, even welcome).

The January performance was excellent and quickly seemed to compensate for any visual disappointments in Act I.  Prior to the curtain call, it was announced that Sondra Radvanovsky would be singing the title role with Tracheitis; high notes taken into consideration, Radvanovsky was a tremendous force in both singing and acting. Her portrayal of the jealous Tosca revealed a coquettish streak in the tragic heroine in Act I, which yielded to the complexity of her character in the darkness of Acts II and III. Marcelo Álvarez was a fitting Cavaradossi; he brought both an earnestness and a youthful vitality to the role, greatly enhancing the figure of idealistic artist and fated lover; his Recondita armonia and E lucevan le stelle were illustrative moments.  Falk Struckmann was brilliant!  His Scarpia was deliciously diabolical: I was on the edge of my seat, horrified by his grotesque character until the final bows broke the spell. Surely, this was acting at its finest.  Rounding out the stellar cast, Paul Plishka brought a touch of lighthearted comedy through his depiction of the Sacristan.  The set wasn't a big issue, and the singing was fantastic (January) and good (March). So what's the matter?  This was going to be (more than) fine, right? That's what I thought...until Act II.

Act II, probably my favorite act, never fails to send shivers down my spine. With this production, those shivers were nearly cured.  The set appeared anachronistic with its odd mix of furniture: some pieces looked like repurposed items from 1970s-1980s basement lounges, while other pieces looked like low-end Pottery Barn/Crate & Barrel wannabes. Scarpia's "thugs" are dressed a la Tim Burton characters. Curious, to say the least.  Other than this decorative decision (Was this meant as a suggestion for Tosca's relevance outside of a particular setting?  If so, it was a weak visual argument at best.), the greatest curiosity was found in Tosca's decision to remain in the same room after she murders Scarpia. Here, I must beg your forgiveness...I laughed. Out loud.  (Apologies also to the gentleman sitting next to me.)  It seemed to be an utterly ridiculous behavioral choice given the macabre and momentous moment in the opera. (Here, the traditional portrayal seems more fitting.) 

Unfortunately, any generously redeeming qualities found in the January performance were lost in March.  If I missed Radvanovsky's singing, I found Violeta Urmana's touch of haughtiness in Act I to be a welcome addition to the title character. Salvatore Licitra was an invigorating Cavaradossi, while Paul Plishka was a welcome familiar face on stage.  James Morris' technical vocal prowess aside, I found myself wishing that Struckmann was again cast as Scarpia: the aura of evil in the character was greatly lacking.  (During the 31 March performance, the audience erupted into a case of the giggles during Scarpia's final death throe (okay, more like fish flop) from the couch.) Overall, I was a bit disappointed in comparison to my experience in January.

Despite these flaws, the reconsiderations and edits have contributed to a viewable- and potentially viable - production.  Yet, in order to truly succeed and mirror the strong success of hundreds of earlier and well-established (even historical) performances, further refinements are necessary.  Until this is adequately achieved, I prefer my Tosca on the traditional side.

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nyphil:

Happy Birthday, Samuel Barber!

(1910–1981)

Barber’s Adagio for Strings will open this year’s FREE Memorial Day Concert with the New York Philharmonic and Music Director Alan Gilbert at St. John the Divine in NYC.

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Happy 326th, Johann!

                                       Any given day in the New York City subway system will bring you into contact with millions of residents and visitors, construction diversions, and a plethora of other rush-hour obstacles.  Buskers are a usually welcome addition to the chaos (yes, there are those who shouldn't be playing publicly...admit it, we've all at some point envisioned throwing their instruments into the path of an oncoming express train...). Today, however, is no ordinary day.  Today, 21 March 2011, marks the 326th anniversary of Johann Sebastian Bach's birth, and if you're heading into the subways, you're in for a treat.  Today, more than ever, New York's subway platforms constitute the City's unlikeliest concert hall, all due to one man's vision and dedication.

Throughout my MetroCard's frequent miles, one particular musician stands out (okay, fine...one other besides The Saw Lady). Why?  Precisely because he isn't a busker.  Dale Henderson, a cellist with a conservatory education, takes his performance series ("Bach in the Subways") underground.  Refusing tips and donations, Mr. Henderson plays the cello suites for all New Yorkers, bringing the joy and beauty of Bach's music to those who otherwise might never have encountered live Classical music. (I can't even say how many times I've been late meeting up with friends or barely made it to class on time because of Bach in the Subways!) J.S. Bach's birthday provides the perfect opportunity for the project to expand: New York musicians have volunteered to pick a subway stop and spread the gift of Bach throughout Manhattan. (Unfortunately, my violin is still with my luthier; I am thoroughly excited at the prospect of participating next year!)

Times and locations are announced via the Twitter and Facebook accounts for Bach in the Subways. 

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Old Music, Young Ears

                                         Today, popular music is all-too-often associated with cash and bling-encrusted singers who heavily rely on autotune and synthesizers to maintain a decent sound.  With this particular mold, today's youth emulate rather than create a unique voice.  (Yes, I'm aware that not every child is another Mozart.  However, I would rather see "failed" attempts at originality than painfully blasé imitation.)  So what's to be done?  Is, as many people fear, classical music dying?  Not quite.  In the hands of a dedicated and capable minority, music educators are recovering young audiences for the heavyweights of Classical music. 

Thanks to the wonderful Family Music Series, the 92nd Street Y is committed to changing this trend.  As a part of this series, on 20 March 2011, New York's 6+ set was introduced to Ludwig van Beethoven.  Steven Isserlis, acclaimed cellist, serves as the artistic director of these educational concert series.  Today's program, "The Scowling Genius," explored "the life and music of Ludwig van Beethoven." Hooked since Isserlis' riveting December recital, I went back to the 92nd Street Y, hoping that I wouldn't stick out as an adult without a child.  (After all, I rationalized, Isserlis won't be back in New York until 2012.) Giggling usher and my own row of seats aside, my fears were allayed when I saw more than one couple/group of adults sans children settle into seats nearby.  Rather than being strictly limited to a concert, the young audience was provided a window looking into the personal life of one of Classical music's most formidable and storied figures.

Soprano Heidi Grant Murphy served as narrator, reading selections from Isserlis' book (He's also a commendable writer.), Why Beethoven Threw the Stew, which drew laughs from the audience with the book's witty portrayal of juicy personal anecdotes (from personal hygiene to culinary delights) about the composer's life.  Interspersed throughout, Isserlis, Alexander Fiterstein (clarinet), Ana-Maria Vera (piano), and Heidi Grant Murphy performed selections palatable to the young ear: the first movement of the Trio No.4, Op. 11 in B flat, Für Elise, selections from the cello sonatas, arrangements of Sottish ballads, etc. The selections were tastefully selected and well-executed: childless attendance vindicated. 

Understandable and wholly expected in a concert designed for younger children, there were distractions.  Chamber music (okay, really phenomenally well-played chamber music) leaves me on the edge of my seat; objectively speaking, fidgeting and wandering children pose a distraction.  BUT, this taken into account, I was absolutely thrilled to see that the majority of the youngsters displayed a keen interest. For example, during the question and answer component: questions included enquiries into the musicians' choice of instruments, practice habits, and even Isserlis' signature hairstyle (The question, "Do you have a wig?"  elicited an emphatic "NOOOOO!" (and guffaws from the audience)).   The approachable forum and informal atmosphere were absolutely perfect for a child's introduction to live classical music.  Fun stories about Beethoven (and you have to admit, there's a lot to work with here) bring life to long-deceased composers; the music draws the children inward.  I would be shocked if there wasn't a single child who went home from this colorful event and asked for music lessons.  Unfortunately, many will find that outside of private instruction, opportunities for musical education (and education in the arts, in general) can be scarce. Parents:  It's worth taking the time to investigate!  Granted, the economy may prohibit costly lessons; however, if one looks hard enough there are a few programs (which need community support) for those who cannot otherwise access this wonderful art (Need an example? Opus 118).

Education in the arts is lacking, particularly in the United States.  I applaud the passion and dedication found in Classical musicians dedicated to preserving their art (more on this in a forthcoming post).  A child need not become a professional performer.  Having the ability to play music as a hobby or mode of self-expression, or as a social activity (chamber music!), provides immeasurable personal rewards (ranging from improved academics to improved quality of life).  

Missed today's performance?  Mr. Isserlis and the 92nd Street Y will be bringing more composers (Mendelssohn and Mozart)  to life in 2012.  Adults may treat themselves to a series of Beethoven's complete works for cello and piano.

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"To play without passion is inexcusable!" - Ludwig van Beethoven