April 29, 2007
Ellen Kent states that of all the many operas she has produced: "Tosca is a particular favourite of mine - mainly because of the melodrama. The fact that the heroine is an opera singer provides a wonderful opportunity for sensationalism".
Set in Rome in 1800, the plot revolves around the diva Floria Tosca and Mario Cavaradossi, her artist lover, who try to protect their friend Angelotti, a political prisoner, from the evil chief of police, Baron Scarpia. Scarpia, who fancies Tosca, has Mario tortured until Tosca betrays Angelotti, and then further threatens to execute Mario unless Tosca permits him to have his wicked way with her (the ways of Boris Materinco, Scarpia, are splendidly wicked. A full-blooded baritone, his malevolence and lust are supported by a toadlike complacency and a shudder-inducing physical forcefulness). In the end, everyone dies, whether by murder or suicide. This is opera as it should be.
The lead singer does have to be able to carry all this off, of course: and Natalia Margarit certainly can. By turns imperious, playful, vulnerable and passionate, with masses of tawny-gold hair and gorgeous gowns, she does indeed resemble the “supple leopard” to which Scarpia compares her. Her voice is classical, vibrato-heavy but with a delicacy which gives her rendition of classics such as Vissi d’Arte a particular sensitivity. Andriy Perfilov as her lover Cavaradossi provides an interesting foil. In his late 20s, he’s one of the youngest singers of the Ukrainian Opera of Odessa. His voice obviously still needs to mature, but his acting ability is impressive: despite the undertone of strain in his voice, his rendition of E lucevan le stelle (a lament, just before his execution, that he has “never loved life so much”) generated spontaneous applause.
The sets and costumes are dark, opulent and realistic, providing an appropriately luscious backdrop to the blood and thunder. One of the strengths of Ellen Kent’s productions is this dedication to providing really good renditions of opera in traditional style at an affordable price. They’re not necessarily your first port of call for experimental work, but are reliably pleasurable experiences of what this genre, at its best, is all about.
Set in Rome in 1800, the plot revolves around the diva Floria Tosca and Mario Cavaradossi, her artist lover, who try to protect their friend Angelotti, a political prisoner, from the evil chief of police, Baron Scarpia. Scarpia, who fancies Tosca, has Mario tortured until Tosca betrays Angelotti, and then further threatens to execute Mario unless Tosca permits him to have his wicked way with her (the ways of Boris Materinco, Scarpia, are splendidly wicked. A full-blooded baritone, his malevolence and lust are supported by a toadlike complacency and a shudder-inducing physical forcefulness). In the end, everyone dies, whether by murder or suicide. This is opera as it should be.
The lead singer does have to be able to carry all this off, of course: and Natalia Margarit certainly can. By turns imperious, playful, vulnerable and passionate, with masses of tawny-gold hair and gorgeous gowns, she does indeed resemble the “supple leopard” to which Scarpia compares her. Her voice is classical, vibrato-heavy but with a delicacy which gives her rendition of classics such as Vissi d’Arte a particular sensitivity. Andriy Perfilov as her lover Cavaradossi provides an interesting foil. In his late 20s, he’s one of the youngest singers of the Ukrainian Opera of Odessa. His voice obviously still needs to mature, but his acting ability is impressive: despite the undertone of strain in his voice, his rendition of E lucevan le stelle (a lament, just before his execution, that he has “never loved life so much”) generated spontaneous applause.
The sets and costumes are dark, opulent and realistic, providing an appropriately luscious backdrop to the blood and thunder. One of the strengths of Ellen Kent’s productions is this dedication to providing really good renditions of opera in traditional style at an affordable price. They’re not necessarily your first port of call for experimental work, but are reliably pleasurable experiences of what this genre, at its best, is all about.