This opera embodies the time period it was written in perfectly. Tosca welcomed in the 20th century with its premiere on 14 January 1900. While it has the charm and elegance of more traditional Italian operas, the heavy brass, odd dissonances for theatrical purposes, and declamatory vocal writing are hinting at what is to come in the world of opera. It is a fantastic piece of theatre that embodies everything we love about opera.
If I were asked to name the very best recording of Tosca, I would (after quite a bit of internal debate) probably say the 1953 EMI La Scala set conducted brilliantly by de Sabata with Maria Callas, (a young) Giuseppe di Stefano, and a menacing Tito Gobbi. After all these years, this essentially perfect reading is still unrivaled. De Sabata leads these sacred monsters through the score with intellect, discernment and swiftness. Callas's multi-layered tigress of a Tosca gives unequalled insight to the character. Di Stefano's youthful vigor and still relatively fresh voice touch the audience at a very human level and Gobbi's audible sneer throughout this entirely evil role is immortal.
However… I would rather discuss a different Tosca. This is about a Saturday Matinee Live Broadcast from the Met on 7 April 1962. The cast is as follows:
Floria Tosca - Leontyne Price
Mario Cavaradossi - Franco Corelli
Baron Scarpia - Cornell MacNeil
Sacristan - Ezio Flagello
Angelotti - Norman Scott
Conducted by the Met's Kapellmeister, Kurt Adler.
Even though he is primarily the Chorus Master, he conducts this performance very well with a great understanding of the work. He leads the orchestra clearly and maintains firm order, which is not an easy task with singers like Corelli on stage in front of him. Somehow he keeps in control of the performance while still allowing the freedom and liberties these singers expect. Don't misunderstand though, this is in no way a conductor's performance. This is an old-fashioned singer's afternoon… and with singers like this, that is exactly as it should be.
Franco Corelli is a formidable presence here, after debuting at the Met only the previous season (the same as Price). It is often said that this is NOT the best performance of the still young Corelli, and that is true. His top on this disc doesn't seem quite as easy as it does on other live recordings, and that is saying something. But even with a hint of pushing, he handles this virile role with masculinity and ardor. His opening aria, "Recondita armonia", which acts as a warm up for most tenors in this role, rings true with a voice that appears to be fresh and ready to go, and it should be mentioned that the last phrase is balanced perfectly by Adler with Franco and the French horns. His act one high B on "or vita mi costassi" is among the most alive and thrilling one can hear. You can see that he is still relatively up and coming on this disc. His famous diminuendo in "E lucevan"(which he didn't do in the very beginning of his career) is not quite as balanced as it is sometimes. But overall he epitomizes this role and his chiaro scuro is rivaled ONLY by the likes of del Monaco.
Cornell MacNeil is truly one of the most unsung heroes of the operatic stage of all time. MacNeil had a top that was rarely matched. Cornell MacNeil in his prime was some of the best Verdi Baritone singing the world has ever heard. His Scarpia may not have the intrinsic "snarl" that Gobbi's does, but instead of the slimy, lustful, letch, he plays a more noble, obsessive police chief. Even if one wished for more colours and vocal acting, the role is impeccably sung. You may have other preferences, but you would be hard-pressed to find somebody to sing the role any better. He is an equal match to his two partners in this production.
Even the small roles are filled with singers who are MORE than adequate. Ezio Flagello sings the sacristan with vocal splendor, almost upstaging MacNeil in their scene together. Angelotti is filled with another Met mainstay, the aging, yet more than competent, Norman Scott.
Even with this impressive and skilled roster, it should not be a surprise that the real star here is Leontyne Price. The young price glides through this passionate role with elegance, femininity, and desperation. Her voice seems healthy and lyric. Moments of grandeur and depth lead to bars of fury and fervor that transform to showcase her resplendent high extension like the scene that leads up to "O dolci mani" in act three. It is apparent why she became so associated with "Vissi d'arte" in her time, she sings it with introspection and contemplation that bubbles up like a volcano waiting to erupt and builds to the moment she decides to take matters into her own hands. She may have a slightly less complex character than Callas, but the passion that exudes from every note she sings results in a listening experience that is so thrilling, it could make even the coldest of heart get sucked into this dramatic and theatrical plot line. In her scenes with Corelli, this excitement is doubled.
It makes one think about that fact that this was just another Saturday afternoon at the old Metropolitan Opera. They don't make singers like that anymore. I defy anyone to find me a production from the Met of the last 20 years with it's over trained, under appreciated, and financially burdened singers that comes anywhere near the life-changing thrill of this truly great singing. This is a precious documentation of what opera used to be like. One can only hope we find our way back there.
If you only have one recording of Tosca, I would recommend the EMI disc conducted by de Sabata with Callas , di Stefano, and Gobbi, but if you want a second one that will suck you into its passion, charm and above all, wonderful singing, then find this one.
-Christopher Michael Kelley
PS. Other good options are the 1997 Levine recording with Renata Scotto, Renato Bruson, and Placido Domingo and also, the 1956 Leinsdorf set with Jussi Björling, Zinka Milanov and Leonard Warren...
