Past Production Reviews
4“Die Szene in Philipps Schlafgemach mit seinem Monolog „Sie hat mich nie geliebt“ gerät im ausdrucksstarken Vortrag des Basses Timo Riihonen so intensiv, dass man an dieser Stelle meinen könnte, die Oper müsse eigentlich „Filippo“ heißen. Jedenfalls führt der Finne, der in seiner hünenhaften Gestalt die offizielle Seite des Regenten mit staatstragender Verkündungsstimme verkörpert, im Sinne Verdis einen interessanten Perspektivwechsel herbei. Der finstere Herrscher, der Elisabeth, die Geliebte seines Sohnes, aus Machtkalkül zur Frau genommen hat, handelt unter den Zwängen seines Amts leidend.” ”Aluda Todua wirkt als Post wie sein besonnener Gegenpart und bietet der großen Stimme von Riihonens Philipp doch kraftvoll Paroli” ”The scene in Philipp's bedchamber with his monologue "She never loved me" becomes so intense in the expressive performance of the bass Timo Riihonen that one could think at this point that the opera should actually be called "Filippo". In any case, the Finn, who in his gigantic figure embodies the official side of the regent with a state-carrying proclamation voice, brings about an interesting change of perspective in the sense of Verdi. The sinister ruler, who has taken Elisabeth, his son's lover, as his wife out of a calculus of power, acts suffering under the constraints of his office.” ”Aluda Todua acts as Posa like his level-headed counterpart and powerfully stands up to the big voice of Riihonen's Philipp.”
”Ohnehin ist die akustische Nachtseite in den tiefen Männerstimmen auch mit Seungwon Choi und Timo Riihonen als König Philipp II hervorragend aufgestellt. Die nächtliche Einsamkeit des Königs (”Ella giammai m’amo”) wird im 3. Akt zum Höhepunkt des Premierenabends.”
Uzbekistani tenor Mavlyanov made his Royal Opera debut tonight as Cavaradossi with no obvious show of nerves: his first aria Recondita Armonia was cool and composed, and his E lucevan le stelle in the final chapter displayed an impressive balance of tender warmth and burning passion. However, Frontali’s interpretation of the menacing Scarpia fell flat as the choral and orchestral forces were asked to save the grandeur of the Act 1 Finale, but his villainous affair with Tosca did revive his performance later on. A character of many faces, experienced soprano Echalaz embraced the melodramatic personality of Tosca in sublime fashion: from the opening jealousy-induced comedy and flirtatious dialogue with Cavaradossi to the breathtakingly poignant aria Vissi d’arte and graceful second act duets. Echalaz’s acting was as compelling as her voice, as she sealed Tosca’s tragic fate with a dignified leap from the walls of the Castel Sant’Angelo. Credit should also be given to the ROH Orchestra. Under the baton of Villaume, the orchestra provided a sensitive and equally passionate musical backdrop, from the blazing opening chords, the thunderous string unison force that marked the death of Scarpia, the graceful woodwind colours, the notable clarinet melody heartening Cavaradossi’s final act romanza and the strident forte brass in the catastrophic conclusion. The mix of rousing drama, inevitable tragedy and an opulent musical orchestration full of exquisite melodies, rich harmonies and textures left the capacity audience moved by Puccini’s operatic achievement.
