[Met Performance] CID:190020



Tosca
Metropolitan Opera House, Wed, January 31, 1962




Tosca (414)
Giacomo Puccini | Luigi Illica/Giuseppe Giacosa
Tosca
Birgit Nilsson

Cavaradossi
Franco Corelli

Scarpia
Anselmo Colzani

Sacristan
Salvatore Baccaloni

Spoletta
Paul Franke

Angelotti
Norman Scott

Sciarrone
George Cehanovsky

Shepherd
Alan Fischer

Jailer
Roald Reitan


Conductor
Kurt Adler







Review 1:

Review of Harriett Johnson in the New York Post

The reign of an unpredictable queen makes fascinating history and Birgit Nilsson's first Tosca last night at the Metropolitan Opera worked wonders with the soprano's vocal and emotional chemistry.

Unlike queens of nations, more than one may reign in an opera house, and Miss Nilsson has without doubt earned the title in the Wagnerian wing, and as Turandot. But Puccini's princess is an iceberg, and Wagner's ladies are either warriors, or odd in other ways. Most of them too removed from 20th century thinking to be taken seriously as typical women in love.

A Luscious Voice

Puccini's realism thus challenged Miss Nilsson as an actress, and her dramatic success as well as her vocal opulence made this one of the most exciting Toscas in recent years. Surprisingly, enough, Miss Nilsson to this listener was more thrilling as Scarpia's murderer than as Tristan's distraught princess.

The soprano's voice has always displayed a meteoric brilliance but as Tosca it became luscious. And she acted with an impassioned intensity that brought her ovations from the dressy non-subscription audience. The performance, sponsored by the Metropolitan Opera Guild, was a benefit for the Met's production fund.

Tempting and Tempestuous

Though the size and radiance of Miss Nilsson's voice has caused her to be cast in the heavy Wagnerian roles, she is actually more of a lyric-dramatic soprano than a true dramatic. Thus, by nature she was an ideal Tosca, while the role also, fortunately, inspired her to be a tempting and tempestuous woman. During the first

act she was finding her way, but by the second she sang with a voluptuous variety of color and dynamics. While her singing can still use more nuance in the Italian manner, her first portrayal of the role can still be considered a triumph.

Corelli the Prima Donna

Fortunately the four spit curls which tenor Franco Corelli had glued to each side of his handsome face couldn't be seen except at very close range. His height made him a proper foil for Miss Nilsson and he sang with healthy resonance and secure, ringing high notes which he held too long. He was the prima donna of the evening, Miss Nilsson, the great artist. Anselmo Colzani made an excellent Scarpia, sinister and vocally vibrant. Kurt Adler conducted with vigor.



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