It’s not all that often I feel genuinely moved by an opera on video. It’s so much less immersive than experiencing live. There is the occasional one. Both the Berlin Parsifaland the Aix-en-Provence La traviata come to mind. The recently released La traviata from the Maggio Musicale Fiorentino is another one. It’s an interesting and effective production with a strong cast centred on the searing Violetta of Nadine Sierra.
This is another of those Arthaus Blu-ray disks that’s sold at a silly cheap price as a carrier for two hours of trailers from the Arthaus catalogue. That said, it’s very high quality indeed. GIlbert Deflo’s production is, in the end, quite conventional though with careful and effective Personenregie. He does trick us a bit at the start. The scene opens with what is, apparently, a rather louche 16th century court entertainment/orgy. There are bare breasted women and dancers of both sexes dressed as Satanic imps. Everyone is in period costume including Rigoletto with jester hat, bells etc. The scene is, perhaps, what we expect. The “ladies” are very receptive to the duke’s advances. The men are resentful but not actively so. Then in comes Monterone in mid 19th century dress to denounce the proceedings and we, perhaps slowly, realise that this is a costume party. From there on there’s nothing very tricksy. The story gets told effectively and straightforwardly. We have been pulled, effortlessly, from the time of the libretto to the time of first performance and the parallels are drawn.
This 2000 La Scala recording of Puccini’s Tosca is straightforward and rather good. It’s a revival of Luca Ronconi’s 1996 production which I’m somewhat astonished to read was regarded as controversial. Sure, the sets are sort of fractured and feature some weird angles but everything else seems to be “by the book” down to the smallest details like the candlesticks and cross. Regietheatre this isn’t. In this performance the acting is OK, if tending to the “stand and wave your arms about” default Italian mode. The stand out exception is Leo Nucci’s Scarpia. He doesn’t have the physical presence to be brutal in the way that, say, Bryn Terfel can be but he manages to project a very nasty securocrat indeed. This is a Scarpia who would be good at making Powerpoint presentations to his bosses detailing how many women and children his unmanned drones had killed today.