I naturally associate the Arena di Verona with those operas with a monumental setting: Aida, Turandot and the like. Tosca too has its spectacular aspect—in the sumptuous church of Sant' Andrea for example—but I wondered how effective the work would be in this vast auditorium when it gets up close and personal.
This was especially so as director Hugo De Ana, who as usual also takes responsibility for designing his own production, is known for a certain monumentality in his approach, not always in my view in keeping with the action.
Here, however, the staging is surprisingly effective, at least on DVD: video director Tiziano Mancini’s concentration upon the personal drama naturally conveys a more intimate sense than would be felt as an audience member; but De Ana deserves credit for the superb choreography and interaction between his principals: Vittorio Grigolo as Cavaradossi, Roman Burdenko as Scarpia and Sonya Yoncheva in the title role.
We first encounter Cavaradossi working on sketches before a curtain falls revealing a large religious canvas. When that too is removed, we see a giant head of the archangel Michael, a great hand of this warrior against Satan holding his mighty sword. A spirit of vengeance, perhaps, but given events to come, alas no guardian angel.
It is an impressive sight, even seen in long shot with soldiers relegated to the periphery of the stage and with cannons in the tiers of seating that might give a few tremors to those nearby. There is, however, a price to be paid for this expansiveness, an inevitable loss of that oppressive claustrophobia usually felt in the chapel scene. Here, the entry of Scarpia, which can be such a spine-chilling moment, has little impact.
Both Grigolo and Yoncheva make small compromises in performance to suit the requirements of the venue, not unreasonably so in either case. The former is a little more melodramatic than might be the case if some of the audience were not a football field distant; and while some Toscas bring out the country girl picked up by stardom, Yoncheva is ever the prima donna. Rather ludicrously, however, De Ana allows her time between killing Scarpia and rushing to save Cavaradossi for a complete change of outfit!
Grigolo cuts a tragic, heroic figure, with great projection in the voice, even if sounding just a little forced at times, belting out "Vittoria, vittoria" with conviction, but tenderly whispering "O dolci mani" as if it were his dying breath. Which, of course, it nearly is.
There are no such reservations about Yoncheva, a superb actress, who is given the spotlight for a superb Vissi d’arte as if this were a solo recital. It justly produces the greatest ovation of the night.
Burdenko is terrific as Scarpia. Insinuating, creepy, sniffing at Tosca’s fan and hair like a fetishist, he dominates the stage after that low-key entrance, playing the part exactly as he would on any stage, with a glare as penetrating as his rich, nutty baritone voice.
For those who can afford it, the best seats at €300 offer an unforgettable experience at Verona. For the less fortunate, this DVD seems a much better bet than a cheap, uncomfortable seat in the far reaches of the arena and at about the same price.