Como temos vindo a constatar, a grande controvérsia suscitada pela Tosca de Bondy radica, justamente, na encenação. Eis mais uma reacção à dita cuja:
«Bondy has taken the opposite approach. He has pared down his sets to the bare minimum. The church is sparse and austere with bare brick walls; Scarpia's office in the Palazzo Farnese in act two is like a waiting room in an institution, painted in brutal browns and oranges; and the third and last act – the most successful in terms of stage design – is a simple brick tower set against the dim blue-grey light of dawn.
There was some egregious silliness to the Bondy version, which no doubt goes some way to explain the cat calls. Cavaradossi's painting of Mary Magdalene upon which he is working at the start of the opera looks like a Mills & Boon cover portrait – all soft edges and flowing hair, and, horror of horrors, her left breast is showing. In act two Scarpia is being pleasured by a courtesan kneeling between his legs, a wholly gratuitous addition to Puccini's portrayal of an evil torturer who exudes suppressed sexuality in any case.
Those incongruities aside, the puzzling thing about the audience reaction last night was that in most other regards the Bondy production is striking by how safe it is, how little risk-taking and how traditional. The Swiss theatre and opera director is known for his humorous touches, though there weren't many on view last night. The acting is traditional too, sometimes slipping into melodrama which is always an occupational hazard with Tosca.»
(Mattila e Álvarez, respectivamente como Floria Tosca e Mario Cavaradossi)
Por regra, acompanho as reacções do público do Met (a minha casa lírica), no tocante às prestações vocais e interpretativas. Contudo, em relação às respostas do público diante das encenações, a coisa pia de outro modo! Assim, uma reacção adversa a uma nova encenação - quase garantidamente - é sinónimo de uma explosão emotiva de júbilo, da parte deste escriba!
A verdade é que, onde Bondy é ousado, Zeffirelli é de um convencionalismo caduco! Nem a insuportável megalomania do italiano o descola do realismo convencional que caracteriza as suas abordagens...