Thirty Years of Musical Life in London, 1870-1900

urn:iso:std:iso:639:ed-3:eng

455-6

text excerpt

Puccini's “Tosca" was the solitary new opera produced in 1900, and, thanks to the genius of Fraulein Ternina, its many beauties were at once made patent to all who were willing to perceive them. That artist's superb assumption of Floria Tosca, coming as it did on top of a series of triumphs in such roles as Brilnnhilde, Sieglinde, Elsa, Elisabeth, and Leonora, was but another revelation of her versatility and of her vocal and histrionic charm. This was Ternina's first essay as the heroine of Puccini's picturesque work, and she received excellent support from De Lucia as Pietro Cavaradossi, and from Scotti as Scarpia — this last a creation which has won universal recognition as an ideal presentment of one of the most subtle and malevolent figures in modern opera. Altogether it was a splendid performance, and Luigi Mancinelli conducted it in his most masterly manner.

Puccini's “Tosca" was the solitary new opera produced in 1900, and, thanks to the genius of Fraulein Ternina, its many beauties were at once made patent to all who were willing to perceive them. That artist's superb assumption of Floria Tosca, coming as it did on top of a series of triumphs in such roles as Brilnnhilde, Sieglinde, Elsa, Elisabeth, and Leonora, was but another revelation of her versatility and of her vocal and histrionic charm. This was Ternina's first essay as the heroine of Puccini's picturesque work, and she received excellent support from De Lucia as Pietro Cavaradossi, and from Scotti as Scarpia — this last a creation which has won universal recognition as an ideal presentment of one of the most subtle and malevolent figures in modern opera. Altogether it was a splendid performance, and Luigi Mancinelli conducted it in his most masterly manner.

excerpt from 'Thirty Years of Musical Life in London, 1870-1900' pp. 455-6 (146 words)

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