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Have you seen him live? I'd like to think that all of the reality checks you've been doing would allow you to reserve judgment. Maybe you have and know by first-hand experience. If not, i say do the reality check, then report back.

Why do you feel so?! What makes you say that?

Hah, it's called "singing for him" when they lip synch along like that. Watch that kid, in a few years it'll be him playing Scarpia and being all impressive.

In ogni caso il piu' rapido mai eseguito resta ancora quello Callas-Gobbi con risultati differenti da questo e da quegli altri.

no more voices...Golden era is over for 30 years and more....50...

Antonio Scotti, not the first Scarpia (that'd be Eugenio Giraldoni) but one of the first and one of the all-time greatest. Superb acting and a smooth lyric-bass tone, probably like George London. Too bad he never recorded the Te Deum or Ha piu forte sapore, even on those scratchy old Victrolas.

In an opera house, you will usually have a chorus of around 50-80 trained opera singers in Tosca. In the end of Te deum everyone is singing the exact same melody in octaves, in a live setting it's very unusual for the Scarpia to be heard over the chorus. Many use the tactic of starting slightly earlier and finishing slightly later than the chorus to be more audible. And old opera goer who had seen countless Tosca's in the same american opera house commented that Cornell McNeil and Ingvar Wixell were the only Scarpia's you could hear over the chorus. In studio recordings and professional live recordings the soloist is usually mixed to be more audible ofcourse. It also makes a difference how large and how professional the chorus is ofcourse and where they are located on the stage. Not that I'm not saying that Gagnidze is the greatest baritone either.

@@revivaljesus Indeed, expecting one single scarpia to be heard over a full chorus of opera singers who are singing exactly the same notes written fortissimo is stupid. If anything, I'd be worried about the quality of the chorus if a single singer could outsing the entire choir in this part. It would be a different story if the part was written in a way that makes it easier for the soloist to be heard, but puccini wrote it in a way where it wouldn't make sense for the soloist to be heard more than any of the chorus members.

On reflection I think you're right. One should normally hear him a little, wending in and out of the chorus - not, of course, drowning them out - that distinctive ring of a dramatic voice helping to cut through. And he really struggled for that F on "mi fai dimenticare iddio" - perhaps fair enough, it's a tough note, but you don't expect to see that level of visible difficulty at the top level of the profession. One wonders if he's been cast a little outside his Fach...?

@@caeruleusbritannus he's a pure lyric baritone, singing dramatic baritone repertoire. He initially started by singing Marcello in Boheme, a role originated by a lirico baritone in Giuseppe de Luca.

Shame really!

I saw Lucic do this also. I think they're trying to insert a bit of foreshadowing, like that's right where Floria's gonna stab him later. Gobbi had this down cold, he did it perfectly, not too much but enough that you saw what it was. There's a difference between a wide-scan theatrical approach (so they can see what you're doing from the gallery) and being stagey or overdoing it.

Grazie!!!!!!!

Grazie!!!!!

Non ci sono più gli Scarpia di una volta, mi riferisco ai vari Taddei Bastianini MacNeil Milnes Stracciari Warren Tibbett e compagnia bella.

​@@e.g.8454 purtroppo hai ragione! amen...

La production moderne me va (J'ai vu d'excellents Mozart modernes), mais la coupe de son complet, ah là ça ne va pas du tout. Que le MET se trouve un tailleur et vite, on dirait qu'il porte trois tailles trop grand.

@@Emil-d6qou alors vous n’y connaissez rien en costume historique