It takes a ballsy opera singer to take on
Giacomo Puccini's great opera
Tosca. Even more, it takes a truly fearless Prima-Donna to take on this role for the first time at the
Metropolitan Opera, arguably the center of the opera world, and the focus of much of the international press. But that is exactly what soprano sensation
Anna Netrebko has done this spring at the MET. By jumping into the role of the tempestuous opera singer in love with a revolutionary artist in the dark, political days of 1800 Rome, she had proven once more that there may be a lot of opera singers out there, but currently she is the great diva of our times. On Thursday night, the MET was nearly sold out (something that should happen more often, but it does not, regrettably), and there must have been at least half a baker's dozen of Russian oligarchs in attendance as Ms. Netrebko sang an incredible performance of this work, putting herself on the map with the Tebaldis and Callases, among others, that made this work a staple of their repertory at the MET.
The focus of this production in the press this year was the falling out of the original cast that included
Jonas Kaufmann and
Bryn Terfel, along with the original soprano,
Kristine Opolais, and her husband, the conductor
Andris Nelsons. In other words, the major players of the cast. The MET had to scramble to replace everyone, but not before they had to replace
James Levine, who after Mr. Nelsons left was selected to lead the orchestra, and then the sexual allegations hit, and Levine was out of the picture. Perhaps the only mention of his name in the precincts of the MET currently is on the CD's, DVD's and Blu-Rays in the MET opera shop of past productions he conducted. The MET is not getting rid of those potential sources of income! They won't have him around, but will make money out of his name and product. Interesting, isn't it? No wonder the maestro is suing the Metropolitan Opera. It's messy at the management level these days.
But thankfully, the art is not suffering, or at least, it does not appear to do so. Thursday's performance was quite strong, although uneven. At the helm was maestro
Bertrand de Billy who lead a secure reading of Puccini's score. Netrebko's Cavaradossi was her husband
Yusif Eyvasov, whose voice is not the most pleasant of instruments. Tight throughout his range, and lacking any real pianissimo, he manages to produce real high notes that are secure and quite stunning to hear. The journey there, however, can be a rocky one. Perhaps the best singing belonged to
Michael Volle, whose dark Wagnerian baritone was perfect for Baron Scarpia's brand of treachery. I saw Mr. Volle last summer at the
Bayreuth Festival as Hans Sachs (a role which he will repeat this year at the Green Hill), and I am glad to report that the Italian side of his repertory is as secure as his German one.
Sir David McVicar's new production, of course replaces
Luc Bondy's awful staging which dethroned
Franco Zeffirelli's much loved production. You remember? It was the one where Scarpia gropes the Virgin Mary at the end of the Te Deum, and where he gets fellated by a couple of prostitutes on an expensive couch in Act Two! No wonder there were boos on the 2009 opening night from the largely conservative New York audience. The present production is what I would call Zefirrelli light. The three main sets certainly resemble their real Roman locations, and there is a mighty angel atop Castel Sant'Angelo. It's what New York opera lovers want to see, and
Peter Gelb, the MET's general manager has admitted that this return to conservatism has taught him not to mess with the warhorses. Perhaps leave experimentation to new works (
The Exterminating Angel, perhaps).
The opera season is rapidly coming to an end, but do not miss this production of Tosca with this cast. It was probably one of the best evenings at the MET this year.
