It was primarily Lyniv’s doing that enabled the final act to hold its power. If she brings this level of intelligence and musicality to those readings, they will be special indeed. A glimpse at her schedule shows wide repertoire (Bortnyansky’s Le Faucon in Lvin, a Walküre in Bologna) but with an emphasis on the verismo repertoire: Suor Angelica coupled with Giordano’s Mese Mariano in Liège followed by a Turandot in Rome. Speeds which initially might have seemed rapid actually moved the drama on perfectly. She fully understands Puccini’s processes, from layering to dramatic momentum. There is no doubt the orchestra were on fire for her but more, the level of detail was staggering. It was, rather, the conductor, Oksana Lyniv, who is clearly destined for great things. His was one of two truly satisfying contributions to this matinée Tosca and the other was not a singer. As fate would have it, then, he had a run-up and, when it came to the big day, launched himself fully into the role from the very start.
The present performance, Saturday 11 th December, was scheduled to be De Tommaso’s first in the run. Freddie De Tommaso (Mario Cavaradossi) ©Tristram KentonĮarlier this week, young singer Freddie De Tommaso made the headlines for saving the evening when his co-Cavaradossi, Bryan Hymel, could not continue due to a cold.
0 kommentar(er)
