Spectacular Production
Indeed, this new-to-Chicago production of “Tosca” is the highlight of the Lyric Opera season. That’s because director Louisa Muller did not succumb to reimagining the opera to fit modern unconventional sensibilities and kept faithful to the classic. She realized that trying to fit the work into a modern framework would, as it often does, compromise the opera’s force and its composer’s vision. Thankfully this production keeps to its traditional production values, which have been enhanced by a compelling ensemble of performers and talented designers.
The towering scenery, originally created by French designer Jean-Pierre Ponnelle, is spectacular, giving the production a sense of swirling climactic events. These take on a depth and larger-than-life perspective within the church of Sant’Andrea della Valle, an apartment in the Palazzo Farnese (Farnese Palace), and on the roof of the Castel Sant’Angelo (Castle of the Holy Angels).
The majestic sets are embellished by Duane Schuler’s dramatic lighting effects, and Marcel Escoffier’s period costumes that are based on his iconic original designs for the most famous Tosca of them all, Maria Callas.
Riveting Cliffhanger
As elegantly directed by Muller, the story of “Tosca” is a riveting cliffhanger. Here you have the beautiful Tosca and her handsome lover Cavaradossi, both of whom have been targeted by Baron Scarpia, a politician consumed by a desire for power and control. Scarpia hates Cavaradossi, not only because the young artist rebels against his tyrannical rule, but also because he is loved by Tosca. Scarpia wants to seduce Tosca and will walk over dead bodies to do so (and since this is opera, that’s exactly what he does).
In addition to a dazzling vocal triangle, the Lyric’s production features Puccini’s glorious musical score that soars under the Lyric’s exceptional orchestra led by conductor Eun Sun Kim, in her Lyric debut. In addition, chorus master Michael Black does a wonderful job leading the Lyric Opera Orchestra Chorus in the powerful “Te Deum,” and the children’s chorus, led by Josephine Lee, is also in top form.
Presented against the backdrop of the Napoleonic invasion, the opera is set in motion by Tosca’s jealousy, which leads to her betraying her lover’s friend, and that friend’s death. That jealousy is the titular character’s fatal flaw, which erupts after she sees the picture of another woman painted by her lover.
Cavaradossi is hiding Angelotti, whom Tosca doesn’t see, but whom she believes to be the woman in the painting. Thus Tosca’s jealousy is further inflamed. Because Cavaradossi is known to be hiding Angelotti, the former consul of the short-lived Republic, he is arrested by Rome’s sadistic police chief Scarpia, who has a passion for Tosca, and who plans to use her lover’s imprisonment as a way to have his way with her.
Stunning Performances
With a velvety rich soprano Michelle Bradley delivers a stunning performance as Tosca. She is vivacious and frolicsome with her lover, yet intensely fierce in her desperation against Scarpia’s advances. She delivers a sublime aria when she sings about love, faith, and her life in “Vissi d’arte.”Portraying Cavaradossi, tenor Russell Thomas partners well with Bradley, hitting the high notes with a strong “Recondita armonia” and a despairing “E lucevan e Stella,” in which he recalls the tenderness of love as he faces what may be his impending death. Bradley and Thomas make beautiful music together and garnered show-stopping raves from the audience throughout the production.
Furthermore, baritone Fabián Veloz, in his Lyric debut, is bone-chilling in a cold and brutal portrait of the villainous Baron Scarpia, the strong-man politician whom you can’t help but hate. Veloz does such a wonderful job juxtaposing a savage government cruelty with a lying piety that he is a riveting, strutting presence throughout the opera.
Others who contribute to the excitement of “Tosca” include Alan Higgs as Sacristan, Rodell Rosel as Spoletta, and Rivers Hawkins as the political prisoner Angelotti, whose escape from jail sets the wheels of the plot in motion.
If you see only one opera this year, let it be this edge-of-your-seat, stunning “Tosca.”
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