At the very end, the production finally condensed into strong images, both drastically vivid and symbolically loaded. The white walls in the glass house are covered in blood, the soldiers are bored, Cavaradossi is dead and Tosca is on the verge of oblivion. There is an external and internal emptiness in which the horror can unfold. Until then, the new production of Giacomo Puccini’s “Tosca” at the Bavarian State Opera lived primarily through the music, or more precisely: through the singers. Above all, Eleonora Buratto in her role debut as Floria Tosca. A dream cast that one could hardly have wished for better. Big, room-filling voice, effortless sonorous height, profiled but never exaggerated in the details. In addition, Charles Castronovo as Cavaradossi, who gradually increased in the first act and finally reached almost heldentenor size. Finally, Ludovic Tézier as the evil police chief Baron Scarpia, whose mysterious baritone contained all the subtlety and constant menace. A perfect cast of the main roles, and even the shepherd boy, a soloist from the Tölzer Boys’ Choir, showed above-average skills at the beginning of the third act.
Puccini’s “Tosca” at the Bavarian State Opera – Culture
