Borrowing one of the most famous lines of Puccini’s Tosca, the (opera) stars shone last Saturday 15th October 2011 as the 3-act opera returned for the third time at the Teatru tal-Opra Aurora. What was being referred to as arguably the best combination of singers ever to appear together on an opera stage in Malta, was definitely no let-down to neither producers nor audiences. The cast included an encouraging dose of local talent with established household name Noel Galea (Cesare Angelotti) as well as up-and-coming baritone Louis Andrew Cassar (jailer) and treble Annabelle Zammit (shepherd) who enjoyed their debut at the Aurora. Other secondary roles were those interpreted by the Italian bass Cosimo Arena (Sciarrone), tenor Costantino D’Aniello (Spoletta) and baritone Alessandro Busi (Sacrestan). They mixed and blended together with quite a skill (and pride) to accompany Neil Shicoff, Michele Crider and Juan Pons who have been brought in to give the show star appeal and raise the overall quality of the performance.
Women arrived at the Aurora decked in flowing gowns, flashing jewels and patrician smiles trying to forget the heavy downpour by not looking at their accompanying males, some of whom were literally soaking. However, it did not take much time for the audience to forget the hassle of wet feet as patrons were whizzed right away into the plot, so impressively set in context with Novella Tabili’s scenography. In fact, the audience felt compelled to applaud as the curtain opened for the third act. And that was not a round of applause for just the Vatican cupola or for the image of the Archangel Michael. It was a compliment to the whole concept of the set, designed by Novella Tabili, painted by Paul Falzon, constructed by Teddy Mizzi and Anthony Buhagiar, lit by Donald Camilleri, and enhanced by professional photography by Sandro Di Salvatore.
As the music unfolded, with Colin Attard at the helm of the Malta Philharmonic Orchestra, or his 17th opera, the audience met the main protagonists, starting from tenor Shicoff who albeit falling ill, did his best to honour his commitment. He simply reached superior heights with each aria. His “E lucevan le stelle” was noted to be amongst the best he has ever performed, which is much more than what anyone can ask from a tenor who might have, at times considered himself too ill to sing. Soprano Michele Crider proved to be a very convincing Tosca. Expectations from the audience were quite high, considering there were foreign fans of hers who attended purposefully to watch her perform in our theatre. She definitely won the hearts of all those present with her dramatic presence enhanced with compelling acting in key points. Her stage presence and her imposing voice in the final scene were enough to fill a stage, which, save for an angel and a cupola was bare. She cried that Scarpia will answer before God and hurled herself over the edge. Yet the stage was surprisingly still full with her presence bringing the opera to a dramatic, and no-less-than-grand, finale. She surely was a glowing star of the night!
Baritone Juan Pons was the true Scarpia. Credible in his acting, sure and unfaltering in his voice, the Spaniard gave what the audience expected from a man who has been a household name and a constant guest of the most important theatres all over the world, including a remarkable 25 years at the MetOpera of New York. The only difference between the authority of his voice and that of his acting part was that the latter was corrupt and tainted by carnal lust and betrayal. His voice, on the other hand, remained loyal to his reputation and experience. Tosca forcefully and poignantly asserts "E avanti a lui, tremava tutta Roma", "All Rome trembled before him", just as it can be said that before his voice, the entire Aurora trembled with awe and wonder.
The Aurora Opera Chorus, coached by conductor Colin Attard, as well as the supernumeraries (under the direction of Novella Tabili, assisted by Maria Buttigieg) had a lesser role this year, when compared to the past productions of Carmen and Aida. Yet, their input, especially in the Te Deum scene which rounded off the first act was top-notch. True to the age in which it was set, only a hundred years before Puccini wrote it, the Aurora’s interpretation of Tosca was one of the best the theatre has so far put up, and according to opera patrons, one of the best Toscas ever produced, comparable to those in any of the world’s major theatres.
Women arrived at the Aurora decked in flowing gowns, flashing jewels and patrician smiles trying to forget the heavy downpour by not looking at their accompanying males, some of whom were literally soaking. However, it did not take much time for the audience to forget the hassle of wet feet as patrons were whizzed right away into the plot, so impressively set in context with Novella Tabili’s scenography. In fact, the audience felt compelled to applaud as the curtain opened for the third act. And that was not a round of applause for just the Vatican cupola or for the image of the Archangel Michael. It was a compliment to the whole concept of the set, designed by Novella Tabili, painted by Paul Falzon, constructed by Teddy Mizzi and Anthony Buhagiar, lit by Donald Camilleri, and enhanced by professional photography by Sandro Di Salvatore.
As the music unfolded, with Colin Attard at the helm of the Malta Philharmonic Orchestra, or his 17th opera, the audience met the main protagonists, starting from tenor Shicoff who albeit falling ill, did his best to honour his commitment. He simply reached superior heights with each aria. His “E lucevan le stelle” was noted to be amongst the best he has ever performed, which is much more than what anyone can ask from a tenor who might have, at times considered himself too ill to sing. Soprano Michele Crider proved to be a very convincing Tosca. Expectations from the audience were quite high, considering there were foreign fans of hers who attended purposefully to watch her perform in our theatre. She definitely won the hearts of all those present with her dramatic presence enhanced with compelling acting in key points. Her stage presence and her imposing voice in the final scene were enough to fill a stage, which, save for an angel and a cupola was bare. She cried that Scarpia will answer before God and hurled herself over the edge. Yet the stage was surprisingly still full with her presence bringing the opera to a dramatic, and no-less-than-grand, finale. She surely was a glowing star of the night!
Baritone Juan Pons was the true Scarpia. Credible in his acting, sure and unfaltering in his voice, the Spaniard gave what the audience expected from a man who has been a household name and a constant guest of the most important theatres all over the world, including a remarkable 25 years at the MetOpera of New York. The only difference between the authority of his voice and that of his acting part was that the latter was corrupt and tainted by carnal lust and betrayal. His voice, on the other hand, remained loyal to his reputation and experience. Tosca forcefully and poignantly asserts "E avanti a lui, tremava tutta Roma", "All Rome trembled before him", just as it can be said that before his voice, the entire Aurora trembled with awe and wonder.
The Aurora Opera Chorus, coached by conductor Colin Attard, as well as the supernumeraries (under the direction of Novella Tabili, assisted by Maria Buttigieg) had a lesser role this year, when compared to the past productions of Carmen and Aida. Yet, their input, especially in the Te Deum scene which rounded off the first act was top-notch. True to the age in which it was set, only a hundred years before Puccini wrote it, the Aurora’s interpretation of Tosca was one of the best the theatre has so far put up, and according to opera patrons, one of the best Toscas ever produced, comparable to those in any of the world’s major theatres.
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