With Austria’s theatres and opera houses in their second lockdown, Vienna State Opera’s Intendant, Bogdan Roscic, fought back with live productions in December. But played without an audience, to cameras and microphones, (for Austrian television, live-streamed internationally.) There’s a Hans-Werner Henze premiere (Das Verratene Meer), and Anna Netrebko sings Puccini’s Tosca for the first time in Vienna!
The backstory is dramatic: Netrebko herself suffered and recovered from Coronavirus. It’s nevertheless brave of her to perform, but fortuitous that her co-star as Cavaradossi is tenor Yusif Eyvasov, keeping it in the family, as it were.
There was a full cast, Vienna State Opera orchestra under Bertrand de Billy. And in Vienna’s legendary Margarethe Wallman production, the stage sets (Nicole Benois) are monumental- the Sant’andrea Chapel; (Scarpia’s) Farnese Palace; Rome’s Sant’Angelo castle ramparts.

Into the historically authenticated stage bounds the fugitive Angelotti, the Attavanti’s chapel transposed onto stage – vaulted roof, wrought-iron ornamentation. Verismo down to the basket of food and wine left for resident artist Cavaradossi, painting the Madonna. Eyvasov’s Cavaradossi, black-bearded, mischevous, wears a painters tunic. And in very good voice, his unknown beauty has blue eyes, Tosca’s are dark. Art has mixed messages, but he thinks only of Tosca. To the sacristan (Wolfgang Bankl) he’s a free-thinking dog; they’re all sinners. (The basket’s full, do as you will!) But Angelotti (Evgeny Solodnikov), tortured, incarcerated, is almost unrecognisable even to his friend Mario.
Mario! Mario! – Why is the door locked! – As Tosca, Netrebko’s, commanding, imperious. Eyvasov’s Mario schmoozes, gets closer. Not in front of the Virgin! Netrebko, in maroon velvet, white lace, looks ravishing. Her soprano is rich, mature, darker-toned: There burns in Tosca boundless love. In their duet, Eyvasov’s tenor is impressive, notwithstanding his famous wife. So they can kiss!
The Attavanti! the Marchesa! Netrebko does the jealous lover – pouting, piqued. She points Mario’s paintbrush at him, like a dagger. He counters: soft in love, wild in rage, what eyes could compare with yours.- But make her eyes black! Now she playfully anoints him with his brush. – His jealous Tosca. He loves everything about her, her rage and her love. – Say it again!- He sings as if he’s renewing his vows. But he’s undone her hair! Netrebko is irresistible in her feminine guiles. They kiss again, like newly weds.

But the man has his secrets. He’s involved in Angelotti’s escape (aided by his sister, the Marchesa.) Mario pledges to do everything to rescue him, if it costs him his life – horribly prescient- and Eyvasov, impassioned, makes it convincing. (They’ve disappeared before the sacristan can sing of Buonaparte’s victory over the Italian despots.)

A celebration in the Church! Baron Scarpia, (Wolfgang Koch), white-haired, bewigged: a prisoner of State escaped! Scarpia’s found the Marquesa’s fan. To him, the basket’s clearly Angelotti’s. Tosca misreads Mario’s subterfuge, suspecting an affair. Scarpia beautifully intoned baritone is seductively reassuring to the enraged Tosca. Proof, the basket’s fan; the Marquese Attavanti, she suspected it. Netrebko is affecting, sadly she was going to tell him… Scarpia notices her tears. He’d give his life to dry them. – If she could catch the traitor! Their love nest sullied. God forgive her tears, Netrebko plaintively. It’s all made dramatically plausible, Scarpia leading her by the hand.

Koch’s Scarpia is chillingly to type, icily calculating. In his aria, he nestles in her heart. He’ll release the falcon of jealousy. Behind him, in this magnificent staging, a religious procession, the Te Deum. Counterpointing the devilish wishes of Scarpia’s aria, they praise the Lord – Vienna’s Chorus live on stage- while he sings, Tosca, you made me forget God. He’ll hang Cavaradossi, oh, to have her in his arms. And after that, no applause!! (You hear those stage hands moving the scenery, and intermittently, orchestral soloists practising.)

Act 2, Scarpia’s room, brocaded wallcoverings, carved oak panels, secretaire, red chaise-longue. At his dining table with candelabras, Koch’s Scarpia wears a louche, embroidered, purple frockcoat -. Violent conquest is as exciting as the act itself. He sings, for great love also brings great suffering. I crave. I get what I desire. Then off to new conquests. So many beauties! (A MeToo villain we recognise.) The eminence grise enjoys the gourmet table, and kicks henchman Spoletta for letting Angelotti escape. Eyvasov is led in – off-stage religious chorus – defiantly listening to Scarpia’s charges; he’d laughed when they searched the house.

Netrebko, Tosca straight from her stage role, enters wearing ermine, and crown, the Queen she is. Now resplendent in ornate gold and black. Scarpia, – the Attavanti was not at the villa. The truth would save him an hour’s suffering. Her lover wears a ‘crown of thorns’. When he lies, blood flows.- Mario are you in pain. – Roberto, continue! – Netrebko is beside herself. Monster! You laugh at other’s pain. Finally, she can’t stand anymore. (Stop!- Mario, should I tell?)
Eyvasov is dragged on, white smock blood-stained.- But has she told? Scarpia shouts it out, the secret hiding place. Netrebko enraged- what passion- the gallows, she’ll follow him. Now rescue him!

Scarpia’s ‘poor meal’ was interrupted: join him, he invites her, partake of fine Spanish wine. Koch’s Scarpia gloriously lyrical: just a sip to fortify you. He’s mercenary, but wants something else. Enflamed by the Diva, her tears awaken his longing. His hand’s on her shoulder; he will conquer her! (What a cruel business!) He takes her in his arms; throws himself on her, she, saved by background drum-roll.

Tosca’s Vissi d’arte. I lived for art and love. I never did harm to anyone; secretly gave help to the poor. Netrebko, as if her own swansong, tearful, heart-wrenching, her powerful range, heaven-bound. Why Lord do you desert me in my hour of pain? Netrebko kneels on a rich oriental rug, raises her arms for mercy.
All he asks is an instant…And Cavaradossi? Scarpia beckons, he will save him. Koch’s supple baritone, guiless, orders the ‘devil’s pact’, a fake execution. Netrebko’s Tosca, the consummate actress, uncovers a table knife. – That’s Tosca’s kiss. And he falls realistically. She towers over him. Mori Accursed. Dead. Now I can forgive him. She kicks the knife away, checks the writing desk for the free pass. Netrebko blows out the candles. And to think, all Rome trembled before him!

Puccini, famous for ‘local colour’, visited Rome to listen to the sound of the Church bells from the heights of the Castello Sant’Angelo. There’s a huge statue on stage. Those church bells ring as Cavaradossi awaits his final hour; a shepherd boy sings plaintively. Eyvasov sings, he leaves his beloved behind, will write her a letter. E lucevan le stelle,. And the stars light up; she came to him like a wisp of balsam, and sank into his arms. Not the most powerful tenor, but moving and heartfelt. (This last Act, inclined to melodrama, yet avoids sentimentality.) There’s tremendous orchestral accompaniment, de Billy firing Vienna orchestra to their most ardent playing.
Neyrebko, ( visiting the prisoner,) describes how she sank the dagger in; her tender hands bloodied, he, O dolce mani. With a shot, he’ll fall to the ground…Then they’ll be away by sea. Does he smell the roses? But he must fall after the first shot. Their duet is beautifully rendered. Together they’ll go forth and share their love with the whole world. (And they did!) They embraced, (as they can.)
The firing squad – soldiers in blue and green uniforms – look menacing, the shots realistic. Mario get up! Dead? She recoils alarmed, Netrebko horror-stricken. O, Scarpia, before God. The leap over the parapet is pure Hollywood, but Netrebko had us spellbound. And the orchestra applauded amongst themselves. ‘They played for Austria’, and the world, on wiener-staatsoper’s livestream. PR. 13.12.2020
Photos: Anna Netrebko (Flora Tosca) and Yusif Eyvasov (Cavaradossi); Wolfgang Koch (Baron Scarpia); Anna Netrebko (Tosca), Yusif Eyvasov; Featured Image Anna Netrebko (Tosca)
© Wiener Staatsoper/ Michael Pöhn