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15年のNY暮らしの後、結婚を機に東京へ。そしてピアノスタジオ・ジャコメッティを開設。そんなキャロルの普段の生活をリポートします。

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〔794〕 新聞にリビューが載りました!!!(英語)

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Regina Opera Opens 41st Season with a Thrilling Tosca
A Review by Nino Pantano

The performance of Tosca, on Sunday November 21st at Brooklyn’s Regina
Opera gave the large audience everything one could desire. Tosca is an opera
in three acts composed by Giacomo Puccini and was first performed in Rome
on January 14, 1900. The libretto is by Giuseppe Giacosa and Luigi Illica and is
based on the play LaTosca by Victorien Sardou. One critic called the opera “A
shabby little shocker” but the public loved it. The tale of the actress Floria
Tosca, the lustful chief of Police Baron Scarpia and her political prisoner lover
Mario Cavaradossi has been catnip for sopranos, baritones and tenors since its
inception.


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まずは主役の『トスカ』(ソプラノ)について。
In the title role, Christina Rohm was a riveting Tosca. Ms. Rohm’s soprano
voice is a lovely instrument, with a darkish hue, flexibility and a tremendous
amount of power on reserve. When she shifts vocal gears, although her vocal
line is seamless, the results are extraordinary. Ms. Rohm’s fiery jealous
outbursts in the first act and her vulnerability were all found in the range of
color in her sumptuous voice. Her confrontations with the evil Baron Scarpia
were bone chilling and her portrayal breathed both ice and fire. Ms. Rohm’s
singing in Act Two’s “Vissi d’arte” was among the most dramatic and poignant
in memory. Her portamento, descents and floating tones made this prayer and
plea to the almighty one of the great theatrical and vocal feasts in memory.
Ms. Rohm’s stabbing of Scarpia (three times if I remember) was unforgettable
as were her gut wrenching cries of “Muori” and her reciting the line “Avanti lui
tremava tutta Roma” (And to think before him all Rome Trembled) at Scarpia’s
corpse was the essence of opera. Her exit after placing two candles on each
side of Scarpia’s body and the dropping of the crucifix on his chest had us on
the edge of our seats. Her looking in the mirror after stabbing the loathsome
Scarpia was an interesting bit of stagecraft. Tosca’s screams in the final act
as she caresses her beloved Mario’s body was heartbreaking and her leap to
her death (via a side door) was stunning. This was a sublime portrayal that
belongs in all the world’s great opera houses!

次は、準主役の『カバラドッシ』(テノール)について。
Mario Cavaradossi, lover to Tosca was brilliantly sung by tenor Benjamin
Sloman. His first act aria “Recondita armonia” indicated a first rate tenor with
a golden sound. His duet with Tosca (Christina Rohm) in the duet “Qual occhio
al mondo” was sung with beauty and abandon. In the second act his screams
were chilling and his cries of “Vittoria, Vittoria” filled Regina Hall like a lightning
bolt of sound. His defiance toward Scarpia and his lackeys was inspiring.
Sloman’s masterful, desperate and dreamy singing of “E lucevan le stelle” in
the final act and his dramatic heartbreaking sob at the climax “E non ho amato
mai tanto la vita” (I die hopeless and never have I loved life so much!”) was
received with a thunderous ovation. Cavaradossi’s final duet with Tosca
(Rohm) “O dolci mani” was once again a glorious blend. Benjamin Sloman has
an ingratiating and manly stage presence and one worries sometimes that in
the midst of his portrayal, he might be giving too much, which occasionally
pinches the top. I am certain that this will be altered because from what I see
and hear, he simply gets better and better. His voice is exceptionately
beautiful with superb breath control and a unique sense of phrasing. I see a
very bright future for this promising tenor.


次は同じく準主役の『スカルピア』(バリトン)について。
Charles Sanford was a strong Baron Scarpia. While searching for Angelotti, an
escaped fugitive, Scarpia’s entrance, midst the merriment in the church of
Sant Andrea della Valle singing “Un tai baccano in chiesa” with his orchestral
theme in the background, indicates not only the ruthlessness of Scarpia but
the genius of Puccini. Mr. Sanford has a fine baritone voice of moderate size
which he uses very well. His insinuating tone and vocal color made a very
compelling portrayal of this heinous and sadistic hypocrite. Never more obvious
is this religious hypocrisy, than by his wonderful singing in the “Te Deum” in
which he proclaims that he would renounce God to possess Tosca, while
kneeling in front of the Cardinal and crossing himself. “Iago had his
handkerchief and I have a fan” he also proclaimed, to himself using the
Marchese Attavanti’s fan as a lure to trap the jealous Tosca.


In the second act, Scarpia sings “Ha piu forte sapore” in which he wishes to
bend Tosca to his will. His knocking Spoletta to the ground and then punching
Sciarrone indicated his rage at any bad news or error. The torture of
Cavaradossi and his proposition to Tosca were blood curdling right up
to “Finalmente mio” just before he gets his” comeuppance” by Tosca who has
bargained with him for a “mock” execution.” Of course she must first yield to
him. Sanford, by clever use of his resources, sang with passion and power and
was truly a Scarpia who deserved his fate at Tosca’s hand.


他に、助役の『スポレッタ』(テノール)について。
Spoletta, Scarpia’s agent was powerfully portrayed by tenor Anthony Tolve.
Tolve is a great character actor and he got right down to the core of what
makes Spoletta the perfect lackey. When Spoletta failed to capture Angelotti,
Scarpia threw wine in his face and hurled him to the floor. Spoletta in the
hands of Tolve, seemed willing to take abuse from his master and jumped to
the snap of Scarpia’s finger. He seemed to take joy in the pain of Scarpia’s
victims and reveled in the plight of Tosca. At the finale, with Scarpia gone and
Napoleon’s forces triumphant, what was Spoletta to do? All of these quandries
were brilliantly essayed by the gifted Italian American Brooklynite Anthony
Tolve.


『ステージディレクター』について。
The stage direction by Linda Lehr was superb. The procession of monks, nuns,
laity and priests with the Te deum in Act One started from the rear of the
church and went down the aisle to the stage in majestic splendor. Ms. Lehr
also served as set designer. Richard Paratley was the magnificent set artist.
The back ground set of St. Peter’s dome and Rome at dawn with its pink and
blue hues was unforgettable. The Palazzo Farnese was luxurious with its plush
reddish hues and noble furniture. Andrea Calabrese was the make up artist and
Scarpia was truly a foppish noble and a sadist under the finery.

『コスチュームデザイン等』について。
The costumes by Julia Cornely and Francine Garber-Cohen were breathtaking,
from Cavaradossi’s smock, to Tosca’s red gown. Scarpia’s white wig and
traditional vestments made one think of a classic portrait of Scarpia featuring
the legendary Metropolitan Opera baritone Antonio Scotti. It was wonderful to
see a traditionalist Scarpia as the composer wanted and to see the candles
placed next to his body by Tosca and a large crucifix placed on his chest. To
do the traditional is today considered anathema! To me to do the traditional
truly defies the times and is really avant garde. Brava Linda Lehr! A standing
ovation and many cheers and bravos followed the performance. The subtitles
above the stage greatly assisted those who were newcomers to opera, thanks
to Linda Cantoni.


最後に、『レジーナオペラオーケストラ』&『マエストロ』(指揮者)について。
The Regina Orchestra of 32 splendid musicians had many magical moments
under the guiding baton of Maestro Scott Jackson Wiley. Maestro Wiley’s
communication with the singers was excellent. There were times when the
heights attained by the musicians under his leadership were like an extra gear
on a luxury Ferrari automobile. Maestro Wiley took us all on a journey that was
heaven bound as did this glorious Tosca from Brooklyn’s own Regina Opera.
Hats off to foundling mother Marie Cantoni, Fran Garber-Cohen and all at the
Regina Opera.


For further info: www.reginaopera.org

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最後に一言。

こんなに素晴らしい記事が掲載され、主役を始め、このプロダクションに関わった全てのキャスト、スタッフメンバーは喜びに浸っていることでしょう。

本当に素晴らしいプロダクションでした!みなさん、おめでとう、そして素晴らしい舞台をありがとう!!



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by karol1 | 2010-12-02 11:37 | オペラ編

by キャロル