The Seckerson Tapes: Catherine Malfitano Interview | reviews, news & interviews
The Seckerson Tapes: Catherine Malfitano Interview
The Seckerson Tapes: Catherine Malfitano Interview
One of the great Toscas of her generation on directing the opera for the ENO
Sunday, 09 May 2010
She was the Tosca who played live to an audience of one billion in 107 countries; she is the director of English National Opera's new staging of the opera they once dubbed Puccini's "shabby little shocker". How times change. In this exclusive ENO podcast, Catherine Malfitano says that it's high time we moved on from the Tosca-as-diva portrayal - that, she says, should remain offstage where Puccini left it.
She was the Tosca who played live to an audience of one billion in 107 countries; she is the director of English National Opera's new staging of the opera they once dubbed Puccini's "shabby little shocker". How times change. In this exclusive ENO podcast, Catherine Malfitano says that it's high time we moved on from the Tosca-as-diva portrayal - that, she says, should remain offstage where Puccini left it.
The future of Arts Journalism
You can stop theartsdesk.com closing!
We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d
And if you can forward this information to anyone who might assist, we’d be grateful.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Opera
Help to give theartsdesk a future!
Support our GoFundMe appeal
The Elixir of Love, English National Opera review - a tale of two halves
Flat first act, livelier second, singers not always helped by conductor and director
The Sound Voice Project, Linbury Theatre review - an art installation that has strayed into an opera house
A worthy project fails to ignite as art
The Tales of Hoffmann, Royal Opera review - three-headed monster feels baggier than ever
Offenbach left multiple choices for his swansong, but this production lacks the key
Rigoletto, English National Opera review - another hit for Miller's Mob
More tragic than gimmicky, this classic staging can still succeed
theartsdesk at Wexford Festival Opera - let's make three operas
Donizetti triumphs, with help from Bernstein, Rossini, two stars and director Orpha Phelan
Albert Herring, Scottish Opera review - fun, frivolity, and fine music-making
A witty production of Britten's clever comedy that's bound to leave you smiling
Le nozze di Figaro, The Mozartists, Page, Cadogan Hall review - cogency, intelligence and reverence
A celebration of Mozart from the supreme stylists
A Midsummer Night’s Dream, Opera North review - one of the best and funniest
Perspex and bubblewrap for a Sixties take on Britten's Shakespeare
The Turn of the Screw, English National Opera review - Jamesian ambiguities chillingly preserved
Pity and terror in Ailish Tynan’s anguished Governess and Isabella Bywater’s production
Trouble in Tahiti/A Quiet Place, Linbury Theatre review - top cast plays unhappy families
Mini-masterpiece and splashy sequel carried off with as much conviction as they can take
Blond Eckbert, English Touring Opera review - dark deeds afoot in the woods
Judith Weir’s chamber opera explores Freudian themes through a modern lens
Add comment