The evening was thus well announced.īeginning behind the gauze of a curtain, Angelotti arrives in a hurry, thin, with long hair and dressed in black on an imposing black cross dividing the stage into a place of prayer on the left and a painter’s studio on the right. I had read the biography of Soia Hernandez, who would take on the title role, to learn that she had studied with Renata Scotto and Montserat Caballé before singing Norma and Imogene in Bellini’s Pirates, and that of Joseph Colleja to learn that he had been Riccardo in Verdi’s Masked Ball and Don José in Bizet’s Carmen, before singing Cavaradossi here. Already admirable as Falstaff or Don Giovanni, in which he mixed darkness or truculence with his acting, I was eager to see how far he would go with Scarpia. The program also had another attraction, Bryn Terfel.
Having discovered Gustavo Dudamel, when he arrived from Venezuela with the Simón Bolívar Orchestra to play South American composers and Bernstein with infectious enthusiasm, I had seen him ascend with delight to the helm of the Los Angeles Orchestra and t hat of the Opéra Bastille, and I wondered what would remain of that ardor in the imposing Parisian institution. I was looking forward to seeing Tosca at the Opéra Bastille this Saturday, September 3.
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