EMI's 1980 recording of Tosca has many strengths, not the least of which is the brilliant and incisive conducting of James Levine. He leads the Philharmonia Orchestra in a stellar performance that allows details of orchestration to emerge with great clarity. His emphasis on the score's many dramatic contrasts and mercurial moods highlights the opera's character as a psychological thriller, and his rhythmic suppleness give it a surging romantic power. Plácido Domingo is a refined but passionate Cavaradossi. He was at the ...
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EMI's 1980 recording of Tosca has many strengths, not the least of which is the brilliant and incisive conducting of James Levine. He leads the Philharmonia Orchestra in a stellar performance that allows details of orchestration to emerge with great clarity. His emphasis on the score's many dramatic contrasts and mercurial moods highlights the opera's character as a psychological thriller, and his rhythmic suppleness give it a surging romantic power. Plácido Domingo is a refined but passionate Cavaradossi. He was at the height of his powers when the recording was made, and his top is thrillingly ringing. Renato Bruson's Scarpia is strong, but his voice lacks the unctuous darkness that makes for a truly frightening portrayal of evil. As Tosca, Renata Scotto was past her prime when the recording was made, and she is occasionally betrayed by a wobble. A somewhat older Tosca, however, is a reasonable dramatic conceit, and the fact that her character is so often enraged makes Scotto's lack of absolute...
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