Puccini - Tosca / Gheorghiu, Alagna, Raimondi, Antonio Pappano (2001 film) [Soundtrack]

Editorial Reviews
Amazon.com
Tosca has been well-served on CD, with excellent stereo versions by Renata Tebaldi and Leontyne Price, as well as the definitive monophonic Maria Callas interpretation on EMI. What lifts this new Tosca from the pack of also-rans is Angela Gheorghiu's intense portrait of the heroine. She sings with sweep and passion, convincing you of Tosca's varied emotional states, from love and jealousy to honor and desperation. Her stabbing scene is chilling; she spits out the repeated word "Mouri" (die) with terrifying power. Only in a slightly bumpy "Vissi d'arte" does she fall ever-so-slightly short, wanting the fullness of a true spinto voice to fill out Puccini's arching line. Roberto Alagna is a convincing Cavaradossi, singing better than he has in some of his recent recordings. Only occasionally does he sound strained, and he lets loose some thrilling high notes. As Scarpia, Ruggero Raimondi is a nasty villain. Antonio Pappano leads a swift-moving, dramatic performance. This nicely packaged set is billed as the soundtrack of a movie version of the opera, but it stands on its own as a dramatic performance of a dramatic opera. --Dan Davis

Puccini - Tosca / Gheorghiu, Alagna, Raimondi, Antonio Pappano (2001 film), Music, Giacomo Puccini, Antonio Pappano, Angela Gheorghiu, Roberto Alagna, Ruggero Raimondi, Chorus and Orchestra of the Royal Opera House Covent Garden, Tiffin Boys' Choir, Maurizio Muraro, Enrico Fissore, David Cangelosi, Sorin Coliban, Gwynne Howell, James Savage-Hanford, Classical, Classical Music, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta

Puccini - Tosca / Gheorghiu, Alagna, Raimondi, Antonio Pappano (2001 film)
Average customer rating:

Five stars for Gheorghiu, but her Mario and Scarpia have problems

Too Much Like Maria Callas

Questionable casting... PERIOD!!!

Gheorghiu real star of this set

Questo e il Bacio di Tosca!

Puccini - Tosca / Gheorghiu, Alagna, Raimondi, Antonio Pappano (2001 film)
Giacomo Puccini , Antonio Pappano , Angela Gheorghiu , Roberto Alagna , Ruggero Raimondi , Chorus and Orchestra of the Royal Opera House Covent Garden , Tiffin Boys' Choir , Maurizio Muraro , Enrico Fissore , David Cangelosi , Sorin Coliban , Gwynne Howell , and James Savage-Hanford
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005IA1Z
Release Date: 2001-11-20

Tracks:

Act One: Ah! Finalmente! - Maurizio Muraro
Act One: E Sempre Lava! - Enrico Fissore
Act One: Angelus Domini Nuntiavit Mariae - Roberto Alagna
Act One: Dammi I Colori - Roberto Alagna
Act One: Recondita Armonia - Roberto Alagna
Act One: Ma Con Quei Cani Di Volterriani - Antonio Pappano
Act One: Pieno E Il Paniere - Roberto Alagna
Act One: Gente La Dentro! - Angela Gheorghiu
Act One: Mario! Mario! Mario!...Son Qui - Antonio Pappano
Act One: Ora Stammi A Sentir - Antonio Pappano
Act One: Non La Sospiri, La Nostra Casetta - Antonio Pappano
Act One: Or Lasciami Al Lavoro - Antonio Pappano
Act One: Ah, Quegli Occhi...Quale Occhio Al Mondo - Antonio Pappano
Act One: Mia Gelosa! - Angela Gheorghiu
Act One: E Buona La Mia Tosca - Roberto Alagna
Act One: Il Cannon Del Catello!...Sommo Giubilo, Eccellenza! - Roberto Alagna
Act One: Tutta Qui La Cantoria! Presto! - Chorus Of The Royal Opera House, Covent Garden
Act One: Un Tal Baccano In Chiesa! - Ruggero Raimondi
Act One: Or Tutto E Chiaro - Ruggero Raimondi
Act One: La Corona! Lo Stemma! - Antonio Pappano
Act One: Oh Mio Bel Nido Insozzato Di Fango! - Ruggero Raimondi
Act One: Tre Sbirri, Una Carrozza - Ruggero Raimondi

Tracks:

Act Two: Tosca E Un Buon Falco! - Ruggero Raimondi
Act Two: Ha Piu Forte Sapore La Conquista Violenta - Ruggero Raimondi
Act Two: O Galantuomo, Come Ando La Caccia? - Ruggero Raimondi
Act Two: Ch'io Lo Trassi In Arresto! - Ruggero Raimondi
Act Two: Ov'e Angelotti? - Ruggero Raimondi
Act Two: Pria Le Forme Ordinarie - Ruggero Raimondi
Act Two: Ed Or Fra Noi Parliam Da Buoni Amici - Ruggero Raimondi
Act Two: Sciarrone, Che Dice Il Cavalier? - Ruggero Raimondi
Act Two: Orsu, Tosca, Parlate - Ruggero Raimondi
Act Two: Floria!...Amore - Ruggero Raimondi
Act Two: Nel Pozzo...Del Giardino. Va, Spoletta! - Ruggero Raimondi
Act Two: L'alba Vindice Appar - Ruggero Raimondi
Act Two: La Povera Mia Cena Fu Interlotta - Ruggero Raimondi
Act Two: Quanto?...Il Prezzo! - Antonio Pappano
Act Two: Se La Giurata Fede Debbo Tradir...Gia Mi Struggea L'amor - Antonio Pappano
Act Two: Come Tu M'odii! - Ruggero Raimondi
Act Two: Vissi D'arte - Angela Gheorghiu
Act Two: Risolvi?...Vedi, Le Man Giunte Io Stendo A Te! - Ruggero Raimondi
Act Two: Chi E La? - Ruggero Raimondi
Act Two: Lo Tenni La Promessa... - Antonio Pappano
Act Two: Tosca, Finalmente Mia! - Ruggero Raimondi
Act Two: Or Gli Perdono! - Angela Gheorghiu
Act Three: (Orchestra) - Antonio Pappano
Act Three: Io De' Sospiri - James Savage-Hanford
Act Three: (Orchestra) - Antonio Pappano
Act Three: (Orchestra)...Mario Cavaradossi? - Gwynne Howell
Act Three: Vi Resta Un'ora - Gwynne Howell
Act Three: (Orchestra) - Antonio Pappano
Act Three: E Lucevan Le Stelle - Roberto Alagna
Act Three: (Orchestra)...Ah! Franchigia A Floria Tosca - Angela Gheorghiu
Act Three: Il Tuo Sangue O Il Mio Amore Volea - Angela Gheorghiu
Act Three: O Dolci Mani Mansuete E Pure - Roberto Raimondi
Act Three: Senti, L'ora E Vicina - Roberto Raimondi
Act Three: Amaro Sol Per Te M'era Il Morire - Angela Gheorghiu
Act Three: E Non Giungono... - Gwynne Howell
Act Three: Come E Lunga L'attesa! - Angela Gheorghiu
Act Three: Presto! Su, Mario! - Chorus Of The Royal Opera House, Covent Garden

Amazon.com

Tosca has been well-served on CD, with excellent stereo versions by Renata Tebaldi and Leontyne Price, as well as the definitive monophonic Maria Callas interpretation on EMI. What lifts this new Tosca from the pack of also-rans is Angela Gheorghiu's intense portrait of the heroine. She sings with sweep and passion, convincing you of Tosca's varied emotional states, from love and jealousy to honor and desperation. Her stabbing scene is chilling; she spits out the repeated word "Mouri" (die) with terrifying power. Only in a slightly bumpy "Vissi d'arte" does she fall ever-so-slightly short, wanting the fullness of a true spinto voice to fill out Puccini's arching line. Roberto Alagna is a convincing Cavaradossi, singing better than he has in some of his recent recordings. Only occasionally does he sound strained, and he lets loose some thrilling high notes. As Scarpia, Ruggero Raimondi is a nasty villain. Antonio Pappano leads a swift-moving, dramatic performance. This nicely packaged set is billed as the soundtrack of a movie version of the opera, but it stands on its own as a dramatic performance of a dramatic opera. --Dan Davis

Customer Reviews:

Five stars for Gheorghiu, but her Mario and Scarpia have problems.......2006-05-29

The good things up front: true spinto sopranos like Leontyne Price and Renata Tebaldi are simply non-existent anymore, and we have to be grateful that a mature artist like Gheorghiu can step before a microphone (if not onstage in a large opera house) and inhabit the role of Tosca with such passion and musicality. The last lyric soprano to try such a stretch was Mirella Freni for Sinopoli (DG), and she was even more heartrending and convincing. The secret is to be able to act for the microphone, and Gheorghiu does it wonderfully; one is only occasionally aware that her voice cannot swell and bloom over Puccini's lush orchestration the way Price and Tebaldi could.

However, paired with this top-flight Tosca are two weaker partners. Alagna is stretching here, too, but he does it a la Carreras, by adopting a relentlessly ardent, sobbing hysteria that delivers a visceral thrill (as Giuseppe di Stefano said about his own vocal recklessness, "The audience likes to see me commit suicide"), but which leaves tonal beauty, style, and musicality in the ditch. Even so, Alagna and Gheorghiu have romantic chemistry, and that counts for a lot. He's often the fire to her ice.

Raimondi was an excelent Scarpia for Karajan two decades ago, and although his dramatic efforts remain convincing, his tone has turned woolly and wobbly. He sounds as if he's singing through cotton and is too aged for any kind of erotic chemistry with Tosca--we don't want her groped by a dirty old man.

Pappano tries the same trick as Karajan and Sinopoli, taking Puccini's melodrama--by turns saccharine, poignant, and fire-breathing--at slow tempos to impart added 'seriousness.' To some extent that's effective, but not nearly as much as with his two prdecessors, who had more theatrical chills and spills to back up their sensitivity. Tosca doesn't work unless it runs off the rails. So, weighing everything in the balance, I can't agree with the reviewer who calls this the best Tosca in forty years, good as its best parts are.

Too Much Like Maria Callas.......2005-12-21

I don't consider myself to be too much of an expert as far as operatic technique, but everytime I hear Angela Gheorghiu I am reminded of Maria Callas. Does anyone know what I mean ? She SOUNDS JUST LIKE MARIA CALLAS. It seems she's heard one too many Maria Callas recordings and all she does is imitate her style. This Tosca is an obvious imitation of the 1950's EMI recording with Maria Callas, Giuseppe Di Stefano and Tito Gobbi. While the sound quality is excellent, and the Royal Opera Covent Garden Orchestra is unsurpassed due to the great prowess of conductor Antonio Pappano, the weakness of this set is in Angela Gheorghiu's Callasian performance. It is no homage or tribute to Callas' Tosca. It is a remake of it. Gheorghiu does have a better sound than Callas and her voice is more beautiful to hear but it has the same strident soprano high register and the "bite" in the chest voice. Roberto Alagna, too, seems to be paying tribute to Giuseppe Di Stefano, though he clearly has his own style. It is a grand style however he cannot master the tessitura of the part of Mario. Ruggero Raimondi as Scarpia is the best feature of this recording. Raimondi is sly, wicked and elegant, a handsome and scheming devil. His Italian is lazer sharp since he is himself Italian and his acting abilities are superior. He has played great Don Giovannis (and in a film) and his mastership of the baritone repertoire is praiseworthy. So, all in all, if you're a devotee of opera's favorite couple Gheorghiu/Alagna (they are also happily married) then this recording is for you. It's clear they are a terrific team together. She can get into the role with great integrity and vocal brilliance. He can also get into character well, though I have always preferred Placido Domingo and Franco Corelli as Mario Cavaradossi, as well as Jose Carreras. Alagna is good in this one though. But believe me, Gheorghiu sounds too much like Callas. Listen to her voice in Trovatore, Romeo Et Juliette, Manon, Werther, La Boheme and other recordings of her (like the Diva album which features "Casta Diva" and "O Mio Babbino Caro". Put on a Maria Callas recording and an Angela Gheorghiu recording and you will see how it is Gheorghiu who is trying to imitate Callas while attempting to remain unique. I still think her fame lies in that we all want to see a resurrected Callas and she came back in the form of Angela Gheorghiu.

Questionable casting... PERIOD!!!.......2004-03-26

Wow, it's not every day that you get to hear some of the worst casting ever in Puccini's most melodramatic opera. This is my favorite opera in the entire Puccini repertoire, and this recording is a flat-out embarrassment to the Maestro.

I can't stand the Sacristan's incessant dips in everything he sings... IT'S ANNOYING! And Alagna, whom is my favorite Rodolfo in his recording of La Boheme (which he also did with Gheorghiu), is using way too much shaky vibrato in "Recondita armonia." It seriously makes me dizzy, like I'm in a boat caught in a torrent on the high seas of the Atlantic!!! He's just plain silly about it! I think he just likes hearing himself.

Not much can be said for this most unremarkable of recordings... this is a huge black eye on the part of EMI, and I'm more than happy to bring it to everyone's attention before they make the mistake of buying it.

Gheorghiu real star of this set.......2003-12-17

This is quite a good modern recording of a well recorded opera. The real treat of this set is Gheorghiu, who brought a real intensity to the role of Tosca not heard since Maria Callas in her legendary (and must-have!) recording of this opera. I still prefer Callas's version, because her 'Vissi d'arte' is absolutely glorious. Gheorghiu, while doing an adequate 'Vissi d'arte', doesn't quite rise up to the same level. Her strengths are in the dramatic segments in Act II and Act III. Her "muori!" is tinged with hatred and vengefulness, and her discovery of Cavaradossi's death absolutely chilling. The rest of the cast are adequate. Alagna is perhaps a little thin in the part of Cavaradossi. There are also cuts in the score, perhaps done for the sake of the length of the movie. The packaging of this set is also gorgeous. This is a good addition to the Callas/de Sabata set.

Questo e il Bacio di Tosca!.......2003-11-27

Angela Gheorghiu is the worst lyric soprano ever. I've never heard anybody sing "questo e il bacio di Tosca" like that, it's too loud, even louder than Leontyne Price's RCA recording. I don't like it! Gheorghiu is not acting like herself here. She tends to act like Teresa Stratas at times for no good reason. No soprano should ever sing the "Questo e il bacio di Tosca" to Scarpia like that and Zinka Milanov will tell you so. Maria Callas will also. That's the limit of how those sopranos should sing it, not scream it! Stupid Gheorghiu, she is too dramatic. Period!