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The Royal Opera, Covent Garden 29 Jan 2007 Marie: Natalie Dessay Conductor: Bruno Campanella The implications of that gloss on the seemingly innocent fable are heightened by Pelly's updated realisation of the opera. Tosca has long survived being dubbed by musicologist Joseph Kernan a ‘Shabby Little Shocker'. No doubt La Fille will likewise be unperturbed by any slur upon the honourable trade of regimental vivandiere, which includes comforting the troops, and is discussed in Covent Garden's programme book, but it is worth thinking about Alexa Woolf's response below. The two famous principals were in fine voice; Natalie Dessay had needed two operations on her vocal cords in the last few years, but seemed to be in fine fettle. The particular joy of her very physical performance, aside from vocal command of the coloratura, was the spontaneous invention of the wholly consistent The first act was unalloyed joy, with too many felicitous touches of humour to take them all in, especially in the first five minutes, culminating in Felicity Palmer's receiving a prayer to the Virgin as if it were being addressed to herself. The second act, however, is a decided come down, and probably is bound to be so. The involvement of Dawn French (speaking, and in English) is a misjudgment, even if it brought in a few more punters to what would, anyway, have been a sold-out run. There are DVDs of Sutherland, Sills and Devia (reviewed) and I trust that the opportunity will not be lost to film and make available for home viewing this Pelly version with Dessay and Flórez, which is going on to Milan and Vienna. Peter Grahame Woolf Photographer Bill Cooper |
character of an irrepressible gamine; one felt that her movements were created from her inner identification with the role, rather than being imposed by Laurent Pelly.