[Met Performance] CID:286660



Tosca
Metropolitan Opera House, Fri, November 28, 1986

Debut : Robert David Cavanaugh




Tosca (713)
Giacomo Puccini | Luigi Illica/Giuseppe Giacosa
Tosca
Eva Marton

Cavaradossi
Franco Bonisolli

Scarpia
Louis Quilico

Sacristan
Spiro Malas

Spoletta
Andrea Velis

Angelotti
Michael Smartt

Sciarrone
Russell Christopher

Shepherd
Robert David Cavanaugh [Debut]

Jailer
Philip Booth


Conductor
Garcia Navarro







Review 1:

Will Crutchfield in The New York Times

New “Tosca” Cast

 

The tenor Franco Bonisolli, who had been absent from the Metropolitan Opera's roster since a brief engagement some 15 years ago, is currently appearing there in "Tosca." His performance Friday night was credible, but not as distinguished as the European reputation he has built in the meantime seemed to promise.

Dramatically, Mr. Bonisolli was on the whole the most persuasive Cavaradossi yet to appear in the Zeffirelli production of the opera (even if he did miss one of its few nice touches by unveiling the picture too early in Act I) Since he has been known to preen and  grandstand, it should be pointed out that here his interpretation was commendably restrained, in character, alive and serious. But his singing was not admirable. The secure top notes are certainly not to be sneezed at, and the audience gave every indication of appreciating them, but almost everything below top A was so hollow, labored and worn sounding that it was difficult to enjoy the occasional moments of something better. Nor did the voice prove particularly powerful, again excepting those few notes at the end of it.

Two other cast members took their roles for the first time this season; Louis Quilico played Scarpia with his familiar gruff vocalism and an oddly excitable conception of the character; the notorious chief of police is usually and with good reason played as a controlled, confident tormentor. Spiro Malas was quite good, and not unbearably antic, as the comic sacristan in the first scene.

Why does the conductor, Garcia Navarro, simply give up on the evocative final chords of "E lucevan le stelle" just because the tenor is being applauded? Puccini would naturally have expected applause here, and the postlude can still be heard through it. So can the abrupt and unmusical termination it has been getting this season at the Met.



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