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I was able to watch the Met's new production of Tosca the other day on my area's local tv station, and honestly, I was blown away. I do not believe it should have recieved the scathing reviews it recieved. I thought the first act was the best. Alvarez sang a beautiful rendition of "Recondita", and Scarpia's entrance was utterly terrifying. The Te Deum was perfectly performed, and I particularly like Bondy's idea of having Scarpia kiss the Virgin Mary's statue to the disgust of all. The second act was good, but didn't stand up to the first. Mattila's "Vissi d'arte" was the most memorable performance of the night. The third act was also very good, with Alvarez's "Lucevan" recieving the longest ovation.

The only real problem with this production I had was with Scarpia's murder. In Bondy's, Tosca sees the knife and plans Scarpia's death. In the original, Tosca sees the knife and kills Scarpia in the heat of the moment. I prefer the original, for I believe it doesn't portray Tosca as evil and capable of murder, as I sort of thought Bondy's did.

Any opinions by those who watched it? Also, any opinions on whether it is alright for opera goers to boo someone off the stage?

dwil9798 wrote: any opinions on whether it is alright for opera goers to boo someone off the stage?

I find booing completely appropriate when you don't like something that much. It sends a quite powerful message to the management and is one of the reasons that this production is so controversial. Boycotting a production sends an even more powerful message. I'm not spending any money for a ticket to this Tosca no matter who's in the cast. Nonetheless, the new MET Tosca is not nearly as bad as some of the worst Eurotrash productions available on DVD (Wagner and Mozart are having a pretty hard time right now). But I also saw nothing in this production to merit the expense of replacing the previous, very popular and visually spectacular Zeffirelli production. If it ain't broke . . .

--Sixtus

Don't get me wrong, I loved Zeffirelli's production, but I think change isn't necessarily a bad thing. Some of Bondy's choices were questionable, but I still thought the production "worked".

As for booing, I agree it sends a powerful message, but is it really appropriate in an opera house. It seems sort of immature in my opinion. Then again, I'm not sure how audiences would show their disdain otherwise.

Any other opinions?

Anybody who's heard a webcast of several of the recent Euro-sludge productions from Bayreuth will know that booing (and catcalls and other more verbal expressions of displeasure) takes place even in the elite circles of high-Wagnerism. And I do seem to recall a certain tenor being recently booed off the stage at the opening night of Aida at Milan's LaScala. Opera was invented in Itay, so it must be OK!

--Sixtus

PS: Graduate thesis topic: Booing inhibitions as extensions of Puritanism (you can't have pleasure nor can you express displeasure)

You present a fair argument.

Herr Beckmesser, what do you think of LA's over-the-top Ring cycle?