One of Puccini’s most loved operatic compositions, Tosca, was presented at the Aurora Theatre, Victoria, as part of the Gaulitana Music Festival.
A good crowd turned up for this unusual event. It was the first time that a fully-fledged opera was included in the music festival organised by the Gaulitanus Choir – hopefully, it will not be the last.
Puccini presented Tosca on January 14, 1900 at the Teatro Costanzi in Rome. This dramatic work tells the story of Tosca, the diva whose jealousy resulted in the death of her beloved Mario and the cause of her suicide.
But the opera does not only recount the troubled love story between the diva and her lover. It also represents the uneasy political atmosphere prevalent in Italy in 1800, which is when the opera is based.
For fear that the French army could upset the Napoletan dominion over Rome, political figures like Scarpia – the dreaded chief of the police – and his men were given carte blanche.
To complicate matters, Scarpia lusts for Tosca and decides to get rid of the competition by imprisoning her lover, Mario. He pretends to offer a means of escape to the two lovers but, of course, in reality he intends to have Mario executed by firing squad. Tosca kills Scarpia, and realising that Mario is dead, throws herself off the high walls of Castel Sant’Angelo.
His well-rounded notes were a joy to listen to
This opera in three acts was presented by the Gaulitanus choir and the Taormina Festival from Sicily. The Sicilian company, under the artistic direction of Enrico Castiglione, brought over the singers, sets, costumes, wigs, and so forth, required for the opera.
However, the music was by the Malta Philharmonic Orchestra and the Gaulitanus choir was Maltese.
So was Colin Attard, the musical director who conducted the ensemble with determination and managed to elicit different emotions from his musicians.
Tenor Giullacci is very well known for his Puccini interpretations and he did not disappoint his followers. His register is very wide, and he possesses a very pleasant, melodious timbre that makes listening to him quite easy on the ear. His É Luce van le Stelle was heartfelt and very well sung.
Francesco Landolfin in the role of Scarpia, was to my mind, the real success of the evening. His well-rounded notes – especially in the lower register – were a joy to listen to.
One must also mention Gianluca Lentini, who sang Angelotti, the escaped prisoner; Giovanni Di Mare the Sacristan who managed to elicit a smile from the audience; and Annabelle Zammit, who sang the part of the little Shepherd boy in a convincing manner.
Norma Fantini, the soprano who sang Tosca, could have given her interpretations more colour and shadings. She has a beautiful voice but she came across as if she had no real respect for the audience. I liked best her Vissi d’Arte, which she sang with fervour and conviction.
Where Castiglione was involved, the grand closing of the first act, the very well-known Te Deum scene, could have been presented with much more aplomb and fervour. However, the setting of the opera and its functionality made up for this. The sets were very well done and so were the costumes and the light.
The orchestra too gave a good account of itself. This could be inferred from the very opening notes of the opera, except for brief moments when balance was lost. Some singers did find it difficult to be heard, but fortunately these moments were very brief.
All in all, it seems that inserting an opera in the middle of a music festival did work. Allow me to suggest that next time it not be held during, or very near to, Holy Week. I know many people who kept away because of the many processions commemorating Our Lady of Sorrows.