This evening I was graced with the opportunity of attending my first opera and having thoroughly enjoyed the grand spectacle of Giacomo Puccini’s Tosca, I hope that this premier event will lead on to many more of the sort.
Sceptical of what might be served up, I was half prepared for an over dramatic, taking-itself-far-too-seriously affair delivered by a gaggle women resembling Brünnhilde and some happy chappies that would not seem out of place advertising car insurance. How wrong I was. What Scottish Opera delivered was a feast of exquisite vocal performances, delightful melodies and all the drama that one might ever hope for in their usual evening of Saturday television. For a newbie to the opera audience, this production is the perfect all-rounder to tease the musical appetite. Even the odd sprinkle of delectable humour was thrown in to sweeten the deal. Had such treats not occasionally been lost in translation as a result of a marginally overly enthusiastic orchestra, I might say that this performance was perfection.
The curtain rises to reveal a church garden fashioned by the handsome set of Peter Rice’s design. The standard is already set high, merely by the splendour of the stage. Unfortunately, its standard is not reached as we meet the first two performers, escaped political prisoner Angelotti, played by Paul Carey Jones, and the Sacristan, played by David Morrison. It is not the delivery of these two performers that is the disappointment, though. They both give excellent (however short-lived) performances with strong ability and acting that remains authentic as a terrified Angelotti desperately seeks refuge and the Sacristan, unaware, goes about his daily work. It is the orchestra that becomes problematic in this first scene. Lush orchestrations boom from the pit and, although divine, drown out the singers’ vocals, especially credited singer Jones. This is a shame to say the least and should be cause for concern for orchestra leader Anthony Moffat.
It is from this point that we are introduced to the hero and heroine of the piece, Mario Cavaradossi, played by José Ferrero, and Floria Tosca, played by Susannah Glanville. The instrumental army below thankfully softens and the beauty of Puccini’s music is showcased. The Spanish tenor Ferrero creates a soft and tender character with a splendid voice as he describes his love for Tosca. As his beloved mistress, Glanville is exquisite. Teasing the audience; we first hear her voice off-stage before she makes her entrance, adorned in the first of her three outfits, each a gem of the costume department. The two lovers argue and the audience is treated to a rare moment of humour. The recitative tells of Tosca’s suspicion that Cavaradossi might be in love with another woman; a woman with blue eyes reminiscent of the painting that he works on. Tosca’s eyes are brown. Cavardossi is secretive towards his lover but only because he has, only moments before, assisted Angelotti with food and a hiding place. Glanville remains jealous and demonstrates impressive agility throughout and a playful nature which showcases the diva that is Tosca. This is most appreciated by the audience who gratefully chuckle at moments such as the starlet’s exciting line: “but give her dark eyes”.