![]() ![]() ![]() So too her not kissing Mario in front of the Madonna and making it more silly than poignant. In fact, while nice details in themselves, putting candles by Scarpia’s head, after she murdered him, crossing herself before she leaped off the parapet, didn’t develop as she busied herself a little like a mother hen than an imperious paramour, and as such didn’t contribute to the growth of personal power. The paintbrush “swordplay,” for example, called attention to itself rather than the overall building of passion. This, however, stood in contrast to her pouting coquettish behavior in Act one, a hit with many audience members despite actions and expressions that aimed for cute and clever rather than depth. In her famous aria in Act two, “Vissi d’arte,” she engaged us with her searching questions about art and life compelling our attention with a flexible and well-colored voice. She played the diva full-on, and took the stage in a range of guises. Italian soprano Carmen Giannattasio, featuring a powerful, round, and full voice, sang Tosca with much rich beauty. This “Tosca” was received with open arms. The performance also features debut-making heroine and debut-making conductor. The new production in San Francisco has set her in motion once again, directed by Shawna Lucey and designed by Robert Innes Hopkins. ![]() Every Opera Director has wanted her on its stage every dramatic soprano has wanted to perform her. San Francisco Opera has always been in love with Puccini’s “Tosca.”įrom 1932, when the War Memorial Opera House first opened its doors, until today, this opera has been its darling. ![]()
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