The 1975 Film of Tosca is very well known and respected
and it is good to see it re-issued. Authentic-looking Napoleonic
era costumes are used and the film was shot on location at the
settings in Rome specified by Puccini: The Church of Sant’Andrea
della Valle for Act 1, The Palazzo Farnese for Act 2 and the top
of Castel Sant’Angelo for Act 3. These authentic locations, filmed
with loving detail, add greatly to the spirit of the opera. It
is the most dramatic which Puccini wrote and is my personal favourite
of his operas. This is a brilliant example of the power of filming
outside the boundaries of the opera house.
The Hungarian diva Raina Kabaivanska had
sung the role of Tosca several times before she appeared in
this film and she is in good voice. She is a beautiful woman
and quite young in this film. Hers is a fascinating part, showing
jealousy in the first act, horror and murderous rage in the
second act culminating in suicidal despair in the last act.
I am perhaps being unreasonable, but with her modern haircut
and a default appearance of cool beauty, I cannot help compare
her to the Mediterranean frenzy portrayed by singers such as
Maria Callas - or Maria Guleghina in the 2003 La Scala DVD.
However you cannot have everything and Kabaivanska’s chemistry
with Placido Domingo is palpable.
Domingo is, as usual,
brilliant as Cavaradossi and his beautiful rendition of ‘Recondita
armonia’ is one of the highlights of this disc, imaginatively
filmed to accentuate the contrast between the two women of his
affections. For some reason he is bearded and looks rather plump
– quite different from his usual suave handsome clean-shaven
appearance.
Sherrill Milnes
is vocally superb and captures the cruelty and wicked lust of
Scarpia with every breath. However this is a cold character
and Milnes does not go overboard with the histrionics demonstrated
in some characterisations – to my mind this makes his interpretation
all the more sinister. Another highlight of this disc is in
the performance of Scarpia’s aria at the end of the first act
where against the background of the service we see him pacing
through the building singing about his evil plans for Angelotti
and for Tosca. The effect is powerful and would not be possible
on the stage.
The opening scene
of the last Act is magical as the camera scans the country scenes,
taking in the sheep being herded and the shepherd boy (Plácido
Domingo junior) as he sings his song. The duet between Cavaradossi
and Tosca is intensely moving and the execution scene is most
realistically acted. After Tosca has thrown herself from the
tower, we see her limp body on the ground bleeding to death
- a shocking end to a shocking opera!
Franco Zeffirelli’s
1963 Milan production of La Bohčme was the basis
for the 1965 film. The first and last Acts, set in the Parisian
garret, appear to come straight from the opera house set; however
in the Second Act filming comes into its own and the Street
scene and the interior of the Café Momus are spacious and realistic.
Similar veracity is injected into the Third Act with very convincing
Inn tableau and the snow in the exterior scenes. This makes
a great difference to the appearance of the opera. That said,
in some ways the film seems a little old fashioned in places
and the lip synchronisation is not always perfect.
Whatever the appearance,
the biggest reason for choosing this version of the opera lies
in the musical performance. In particular the conducting of
Herbert von Karajan is exemplary. As you would expect, the orchestral
playing is splendid, but more important is the sense of restrained
passion and the overall control of the architecture of the score.
The balance with the singing is always good and Karajan has
an artful way of bring to life the leitmotifs that are abundant
in the score.
The other wonderful
thing about this set is the singing of Mirella Freni. She is
one of the great singers of the second half of the twentieth
century and is particularly good in Puccini. Here her voice
is young and fresh and perhaps at its best. She and Karajan
got on well with each other and the combination is ideal.
Gianni Raimondi
misses the allure of Pavarotti - who was subsequently to sing
alongside Freni in this opera - but nonetheless is a good and
stylish singer and the other male singers are all excellent
performers. I found Adriana Martino a stylish and suitably sexy
Musetta and she has some fine comic moments.
In many ways this
is an ensemble opera, with the great solo parts concentrated
in the first Act ‘Che gelida mania’ (one of the world’s most
popular arias) and ‘Si Mi chiamano Mimi’ which are done beautifully
here. The final scenes of the opera are overwhelmingly sad in
this fine performance.
Madama Butterfly
is one of the most tragic operas ever written. An innocent 15
year old Japanese girl in order to escape poverty, marries an
opportunistic US sea captain despite the objections of her family.
She is seduced and abandoned but waits for her husband to return
as promised although her family abandons her. Eventually he
does return, married to an American woman, she is robbed of
her child and commits suicide. The main character has to project
timidity and strength combined with strength and obstinacy.
Mirella Freni is perfect and is not only totally believable
in the part but also combines this acting ability with singing
of the highest quality. She must be one of the best Cio-Cio-Sans
ever.
Herbert von Karajan
is as good here as in Bohčme, if not better. The playing
of the Vienna Philharmonic Orchestra is faultless and Karajan’s
control of the overall shape of the music, whilst never losing
the details, or overpowering the singers, is unsurpassable.
Once again it is demonstrated how well Freni and Karajan work
together. This is especially demonstrated in the long love duet
that is sensual in the extreme, with a soaring melodic line.
The great aria ‘Un bel di’ has never sounded so powerful
nor the humming chorus so magical.
A young Plácido
Domingo is vocally in fine form and projects the rakish character
of Pinkerton to perfection. He is most convincing in the love
duet where you feel that at least at that moment he feels strongly
for the girl he will soon so casually discard. Christa Ludwig
is very good in the role of matronly confidante to Butterfly
and her voice is caught at its best. Robert Kerns gives a fine
performance as the United States Consul at Nagasaki; a good
man who is powerless to prevent the tragedy that he obviously
foresees. The other parts are also played well, especially the
Japanese characters.
From a musical or
acting viewpoint this performance is almost perfect, but what
of the sets and costumes? Here alas some doubts arise. Butterfly
is often presented in staging that is full of oriental exoticism.
With outside filming it would have been possible to have shots
of the harbour or of the ship coming in; instead we get a low
key small house with paper partitions and an outside expanse
of coastal grasses. We must assume that this approach is one
designed by Ponnelle to match the tragedy of the story and I
for one applaud this decision. There are however problems which
whilst not major are annoying. Apart from the old problems with
getting exact lip synchronisation, most of these concern Domingo,
who despite the story being set in 19th century Japan is shown
wearing an obviously 20th century T-shirt. He is also shown
chewing gum … even when singing! These problems are small when
set against the overwhelming merits of the performance.
The film is based
upon a recording for Decca with the identical cast apart from
Luciano Pavarotti playing the part of Pinkerton. It was decided
to use this recording as the basis of the sound-track of the
film. For some reason Pavarotti’s part had to be substituted
with Domingo and spliced into the earlier recording. Comparing
the two is fascinating as there is little difference; the two
great tenors have distinctive differences in timbre – but who
could say which is best in this part?
All three discs
are packed into a single box that is little thicker than the
standard DVD box. The presentation of the discs is good with
useful documentation. Despite their age, all three look well
and have good sound – amazing for material which is thirty years
old or greater.
Arthur
Baker
Giacomo
PUCCINI (1858–1924)
Tosca - opera in three acts (1900)
Floria Tosca, famous singer -Raina Kabaivanska
Mario Cavaradossi, painter - Plácido Domingo
Il barone Scarpia, chief of police - Sherrill Milnes
Cesare Angelotti, escaped political prisoner - Giancarlo Luccardi
Spoletta, police agent - Mario Ferrara
The sacristan - Alfredo Mariotti
Ambrosian Singers
New Philharmonia Orchestra/Bruno Bartoletti
Director: Gianfranco de Bosio
Filmed on location in Rome, September and October 1976 (Unitel)
rec. London, Walthamstow Hall, August 1976
NTSC/Colour/4:3, PCM Stereo/DTS 5.1,
DEUTSCHE GRAMMOPHON DVD 0734420 [115:00]
Giacomo PUCCINI (1858–1924)
La Bohčme - opera in four acts (1897)
Mimi - Mirella Freni
Musetta - Adriana Martino
Rodolfo, poet - Gianni Raimondi
Marcello, painter - Rolando Panerai
Schaunard, musician - Gianni Maffeo
Colline, philosopher - Ivo Vinco
Benoit, landlord - Carlo Badioli
Orchestra e Coro del Teatro alla Scala/Herbert von Karajan
Producer: Franco Zeffirelli
rec. 15 April-5 May 1965 (Unitel)
NTSC/Colour/4:3, PCM Stereo/DTS 5.1
DEUTSCHE GRAMMOPHON DVD 0734418 [103:00]
Giacomo PUCCINI (1858–1924)
Madama Butterfly - opera in three acts (1904)
Cio-Cio-San (Madama Butterfly) - Mirella Freni
B. F. Pinkerton, lieutenant in the United States Navy - Plácido
Domingo
Suzuki, Cio-Cio-San's servant - Christa Ludwig
Sharpless, United States Consul at Nagasaki - Robert Kerns
Goro, nakodo (a marriage broker) - Michel Sénéchal
Konzertverinigung; Wiener Staatsopernchor
Wiener Philharmoniker/Herbert von Karajan
Producer: Jean-Pierre Ponnelle
Filmed at Berlin, Union Film, November-December 1974 (Unitel)
rec. Vienna, Sofiensaal, January, September 1974
NTSC/Colour/4:3, PCM Stereo/DTS 5.0
DEUTSCHE GRAMMOPHON DVD 0734419 [145:00]