Three Puccini operas as they were performed at the Royal Opera, Covent Garden, are now offered as a boxed set of three OpusArte DVDs, titled simply “Puccini.”
The La Boheme, conducted by Andris Nelsons, was performed in 2011 and I rate it as the best staging of the work I have seen. My favorite bits of business come in Act II when we get to see the cook at the Café Momus and see Musetta (Inna Dukach) shoot some pool before her waltz song. The leads, Teodor Ilincai (Rodolfo) and Hibla Gerzmava (Mimi) are attractive—although physically not quite starving or consumptive respectively; while the other Bohemians—Marcello (Gabriele Viviani), Colline (Kostas Smoriginas) and Schaunard (Jacques Imbrailo)—are completely inside their roles.
Vocally, they are all top notch. Some details of the orchestration, as conducted by Andris Nelsons, are lost in the big house acoustics. Perhaps I am overly conscious of this having spent years listening to studio recordings where these details are quite clear.
Tosca (2006), conducted by Antonio Pappano, has a good Mario in Jonas Kaufmann, while Angela Gheorghiu’s Tosca is more fiery than usual and prone to a bit of overacting. Bryn Terfel so hams it up as Scarpia that if he had a mustache he would twirl it. It was a bad choice to have separated him physically from the rest of the chorus during the mass that ends Act I, the point being that he should be among the worshippers and still “forget God.”
Having no blood on the knife or even on Tosca’s gown or hands is something of a mistake; and having blood all over her written safe conduct is another. (You do know the plot, don’t you?)
Antonio Pappano conducts the dramatic score with lots of energy.
The Turandot (2014) has two faults. Marco Berti is simply not attractive enough for the role of Calaf. (I hope I am not being politically incorrect, but I do believe that looks are important in the theater.) More important the work is staged as a play within a play. The chorus, which is an important character in this work, is all on balconies upstage, while the soloists and dancers move about the stage proper.
All of this not very original concept simply removes the characters two levels away from reality and it is difficult to care about them. This is a shame, because Lise Lindstrom is a very human Turandot and Eri Nakamura a very sympathetic Liu.
The colorful score is well served by conductor Henrik Nanasi.