Tosca

Tosca has always been one of my favourites, and being a fan of Franco Corelli, I knew I wanted to see this Tosca. And I was not disappointed, one of my favourite filmed versions of Tosca that's for sure. The settings and costumes are sumptuous while not taking away from the opera's tragedy and darkness and the camera work is focused and not distracting from the drama. The colour is serviceable if occasionally faded. Musically, this is one of the most powerful and moving accounts I've seen. Act 2 is phenomenal, one of the best middle acts ever in opera, Te Deum is subtle and chilling and Mario Mario Mario and the Cello Ensemble evoke a lot of emotion. The conducting is refined and sensitive, yet really lets loose in the dramatic scenes, the torture scene is the very definition of tense.

Of the singing and acting, Franco Corelli was the one who stood out. Not only is he the handsomest Caveradossi I've seen, but his Caveradossi is incredibly well-acted, ardent, intense, poignant and arrogant, and vocally the singing is thrilling and beautiful at the same time, ringing tone yet with some sublime moments of musicality. Franca Duvall is a dramatically riveting Tosca, and of the many Toscas I've heard, Maria Caniglia sings with passion and beauty, while possessing one of the truer Spinto soprano voices. Afro Poli is charismatic and powerful on screen as the villain Scarpia, and the character's voice is sung in a tour-De-force vocal by GianGiacomo Guelfi.

All in all, a great opera film, with wonderful music, and Guelfi and especially Corelli are magnificent. 9/10 Bethany Cox

I saw this film at the time of its first showing in the U.S.A. in 1957, and thought it was a quite excellent film representation of one of the most accessible of all operas, both for opera lovers and film-goers in general. Nothing in the ensuing half-century has caused me to alter my opinion. TOSCA is a fairly claustrophobic opera for the screen - no big scenes, no marches, etc. (unless one counts the first act Te Deum) -it's effectiveness is therefore borne entirely in its three leading characters' delineations by the vocal interpreters and/or actors involved, and in the conveyance of those delineations by the film's director. Director Gallone succeeds admirably here.

For all practical purposes, this was the film that introduced Franco Corelli to the world outside Italy, where he was just starting to enjoy tremendous success. He is the only one of the three leads to physically appear in the film and no wonder, as he was about the handsomest male opera star of his time, if not of all time, and this fact did play more than a little role in his worldwide success. Franca Duval, the Tosca, was also a singer, but she is used here only for her acting ability and lovely appearance, the role actually being sung by the great Maria Caniglia, who had been arguably the leading Italian spinto soprano of her time, and was still singing very well indeed (not to mention vocally acting up a storm at all times) after a full quarter-century on the world's opera stages. The actor physically portraying the villainous Scarpia, Afro Poli, was also a star Italian baritone, but the singing here is provided by the gargantuan-voiced Giangiacomo Guelfi (who, like Corelli, was also being brought to the world's attention via this film). Poli must have had the least ego of any Italian singer of his day as, having also been an opera star for a quarter-century and still going strong, he appeared at least three times in Italian opera films solely as an actor, with his voice being dubbed in, as here, by other famous singers. Anyhow, his is a truly superb presence (the best in the film) for he is naturally gifted with what some call "an actor's face", and he carries off his assignment with panache.

The whole film is beautiful to look at, dramatically involving to view, and thrilling to hear. What else can a movie-loving opera maven ask for?

Director Carmine Gullone nicely harnessed the staging of this production of "Tosca," creating a nicely laid back, yet emotional statement.

At the center of this production is a young Franco Corelli, in the particular performance that made him a star. His voice here is glorious, and he uses it with great artistry.

Maria Carriglia's singing voice of the title role is quite beautiful, and Gian Giacomo both sings and acts a strong Scarpia.

Gullone likes to shape nicely balanced long-shots, which places the actors in a perspective of their environments. The settings are quite colorful and the Eastman color is serviceable.

Originally photographed for theater wide screens, it may look a little cramped on some monitors.

Pucinni's music is very emotional, which helps sustain dramatic tension, even though his actions may not always live up to the score's mood. Too, close your eyes at times and you'd swear the music is from a "Butterfly" or "Turandot," so typical had the composer's style become. His excellent sense of dramatic timing and mood are carried out in his uniquely rich orchestration, which makes the film's 110 minutes running time seem shorter.

One of the "musts" for opera lovers in general and Corelli enthusiasts in particular.