What is it that draws us back to “Tosca” over and over again?
Surely, I’m not one to disagree with the many reasons for doing this opera over the years. I have to admit however, that my main reason for seeing any Puccini opera as often as I have the chance is, without a doubt, the story,the magnitude of score the and of course, characters.
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| Marcelo Puente with Madonna Painting |
I could close my eyes and just listen to the music, it’s that beautiful and yes, glorious. Of course, the players are what make the music come to life and the director makes it possible for the performers to look as convincing as possible to make that happen around the music.
I can’t, with accuracy, count the many times I have seen Tosca in previous productions here and elsewhere over the years, but if given the chance, I’ll see it again.
“Tosca” is about love, politics, power, jealousy, murder and religion in Rome at the turn of the century. The story is a political thriller, set in Rome in June 1800’s during the Napoleonic wars and a time of great political unrest. The action takes place over less than 24 hours, making it an intense experience!
Three very strong personalities, Tosca, her lover Cavaradossi and their adversary, Chief of Police Scarpia, form an unholy triangle with Scarpia holding all the power cards and Tosca and Cavaradossi unwilling puppets in his perverse use of that control.
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| Cast |
Jealous by nature, Tosca just about seals her fate when Scarpia convinces her that her painter lover, Cavaradossi is having an affair with ‘the beautiful painting of the woman with the blue eyes he is completing. No sense convincing Tosca it’s her because she has brown eyes, something they playfully banter about. Cavaradossi convinces her to leave the chapel. (Qual occhio al mondo può star di paro).
Michelle Bradley, who appeared here in 2019 in “Aida” and whose “Tosca” will be the second time she’s performed it, continues to soar in this production. With crystal clear voice, making her persona Tosca as pure as her voice. Our tenor Marcelo Puente, her lover Cavaradossi, with an equally powerful and robust voice make a glorious twosome as they were intended to be. (“e lucevan le stelle”.
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| Greer Grimsley and Michelle Bradley |
Bass Baritone Greer Grimsley who has mastered this role in past performances here in San Diego, is the bad guy Scarpia, with his misuse of power in the name of politics and religion. His one goal is to bed Tosca for the safe release of Cavaradossi after he is tortured for not revealing where his friend revolutionist Angelotti (Andrew Craig Brown) is hiding.
Conductor Valerio Galli who hails from Italy leads the orchestra with a bravissimo force that rocked the house; it was that powerful.
Alan E. Hicks directs with a sure hand contrasting the moods of all three of his luminaries with mood swings back and forth from Tosca’s pious leanings to her playful back and forth of the Cavaradossi painting to Scarpia’s wooing Tosca to his force in trying to take her. Using her jealous streak as ammunition, he convinces Tosca of Cavaradossi’s wayward eye (Va, Tosca) then remembering he is in the church cries: “Tosca, you made me forget God”. He is an impressive figure.
After being taken to Scarpia’s apartment on the upper floor of the Palazzo Farnese (Jean-Pierre Ponnelle set design is uninspired), in Act II, she still doesn’t fully understand the magnitude of her being there. The room is connected to the torture chamber, where he lets Tosca hear cries from Cavaradossi.
Scarpia, whose lust for Tosca is all he can think about, wants her to surrender to him and when she does, he admits, Cavaradossi will go free. Grimsley is most convincing and handsome, almost too, unlike other Scarpia’s I’ve seen. His powerful voice was a most welcome one. When she offers money, he claims he doesn’t take money from pretty women. What he does desire is Tosca. Tosca, mad with anguish and revulsion agrees, turning to God (Vissi d’arte) what has she done to deserve such suffering?
For this reviewer there were some disappointments about this production. One was the passion between the lovers. Both Ms. Bradley and Puente are most attractive and excellent actors and soar in both duo and solo arias. Both are convincing enough when singing, but when together the passion, the thrill, the excitement didn’t translate or show through. One of the biggest puzzles that came up for me throughout the production was the fact that as ardently as they confessed their love for each other they never really kissed passionately. Call me a romantic, but… it makes it more sense.
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| Marcelo Puente and Michelle Bradley |
There seemed to have been an awkwardness about their intimacy leaving an overall feeling of wanting more from the lovers especially in the final scene, when Cavaradossi, whose fingers were dripping with blood from torture couldn’t write his final letter to Tosca (as is in the libretto) but asks the jailer to do it for him. (E lucevan le stelle) Nor could he hold Tosca’s hands as they professed their love for each other and in his final farewell to her (O dolci mani) both which he sang beautifully.
Chris Rynne lighting was fine. Sets are undistinguished. Since we own the sets,(Andrew Horn) I’m guessing it was the lesser of the money spent. They worked, but not always to the benefit of some audience member’s sight lines, and Andrew Marley and Heide Zamora costumes are period on target.
“Tosca” has been performed by San Diego Opera with performances happening in 2016, 2009, 2002, 1996, 1986, 1981, 1974, and 1967. Is there a 10th in the wings?
See you at the theatre.
When: 7:30 p.m. Tuesday and Friday; 2 p.m. Sunday.
Where: San Diego Opera at the San Diego Civic Theatre 1100 Third Ave., San Diego
Tickets: $25 and up
Photo: Karli Cadel
Phone: (619) 533-7000
Online: sdopera.org
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