Outstanding Performance of Tried and True Standard by Giacomo Puccini Shows the Composer and Company at Their Best
By GEORGE B. PAROUS
Pittsburgh Opera opened their new season last night at the Benedum, with a performance of Puccini’s Tosca that surely astonished veteran operagoers and newbies alike, for a more impressive array of vocal talent, orchestral excellence and overall production satisfaction would be hard to imagine. It was the most outstanding presentation of the classic that these ears and eyes have heard and seen in a long list that spans the better part of a half century. And it was easily one of the best performances of any opera that the company has presented this century.
Baron Scarpia (Kyle Albertson) plants the seeds of suspicion in Floria Tosca (Ana María Martínez)
From the opening “vivacissimo con violenza” bars of the score, conductor Antony Walker assured that the orchestra was in top form and at their best, and their playing through the three acts came as near perfection as it gets. Once or twice Walker was compelled to stop his instrumentalists because the audience broke protocol with applause, but this can be overlooked considering how long listeners sat through one thrill after another in silence. Because the vocal talent on stage was so powerful, Walker was able to give the orchestra free rein in the magnificent climaxes. The chorus, under Mark Trawka, sang splendidly, as did the Pittsburgh Youth Chorus, both groups making the first act a marvel of choral sound, as were the visual grouping and choreography as well.
Mario Cavaradossi (Jonathan Burton) aids escaped political prisoner Cesare Angelotti (Erik Nordstrom)
From the moment Resident Artist Erik Nordstrom, baritone, made his mad dash to center stage with the rise of the curtain, he proved that his debut with the company was a great success. In the time he had the stage to himself, as Cesare Angelotti, the escaped political prisoner – and in later scenes – he gave an ample display of his fine singing and acting abilities. His desperation was palpable; his tones rich, deep and clear. We can look forward to any future appearances Mr. Nordstrom makes with the company. Brian Kontes, well known to local opera audiences, was an ideal Sacristan, both vocally and in his ability to make the most of the role’s brief comic relief. Fran Daniel Laucerica, both vocally and dramatically, was an appropriately creepy Spoletta, and the smaller roles, such as Sciarrone (Matthew Soibelman), the Jailer (J. Patrick McGill) and Roberti (David Bennett), were in capable hands. From behind the scenes, Shannon Crowley sang very sweetly the brief but lovely pipings of the Shepherd Boy.
Baron Scarpia (Kyle Albertson)
Tenor Jonathan Burton returned as Mario Cavaradossi, the painter and political activist. As he has shown previously in Rusalka and Il Trovatore, he possesses a voice that shines robustly and ringingly, and he has great stamina. He seemed a trifle spent toward the third act, but this is pardonable, for his role is long and demanding. In her Pittsburgh Opera debut, Ana Maria Martinez proved that she is Tosca. Garbed as an 1800 fashion plate, she made a striking appearance and gave one of the most sensational vocal performances heard here. Much of the music lies low, but her middle and lower registers are solid and as capable of resounding as resonantly as the role’s highest soprano flights. When she finished the famous “Vissi d’arte” aria in the second act, you could almost feel the audience gasp before it broke into one of the longest ovations heard in years. We can only hope that she comes this way again.
Floria Tosca (Ana María Martínez) comforts the tortured Mario Cavaradossi (Jonathan Burton)
Kyle Albertson’s interpretation of Baron Scarpia, the villainous chief of police, was virtually the last word on the subject. His baritone voice is so powerful that he could be heard over the full orchestra, chorus, organ and canon blasts that bring the first act to a close. Vocally, dramatically – his performance was one that won’t be forgotten any time soon. He good-naturedly acknowledged the audience’s mixture of thunderous applause and profound boos at the final curtain.
After the first act, the applause was so deafening that the dropped curtain had to be raised again. This was a class act that should be repeated at all performances when warranted. At the climax of Act II, Tosca’s murder of Scarpia is staged much more realistically – meaning violently – than in an ordinary production of this opera. The production team is to be congratulated for creating an excellent background for the massive amount of performing talent; lighting, scenery, costumes are all impressive.
Floria Tosca (Ana María Martínez) gets revenge on Baron Scarpia (Kyle Albertson)
The opera will be repeated on October 8, 11 and the 13th (Sunday matinee). For a full synopsis, complete production details, additional photography and TICKETS, visit Pittsburgh Opera. This is a Tosca that shouldn’t be missed.
The Artistic Team for Tosca –
Conductor, Antony Walker; Stage Director, Tara Faircloth; Set Designer, Keith Brumley; Costume Designer, Andrew Marley; Wig and Make-up Designer, James Geier; Lighting Designer, Abigail Hoke-Brady; Stage Manager, Cindy Knight; Fight Director, Tonya R. Lynn; Assistant Fight Director, Anne Ramatt; Assistant Conductor, Glenn Lewis; Chorus Master, Mark Trawka; Associate Coach/Pianist, James Lesniak; Resident Artist Pianist, Maeve Berry; Assistant Stage Director, Dana Kinney; Assistant Stage Managers, Bee Anderson and Tess Naval
Original Costume Design by Mr. Marley with additional designs by Heidi Zamora. Costumes originally created for New York City Opera and refurbished by Seattle Opera Costume Shop
Scenery and Props for this production constructed by Lyric Opera of Kansas City
David Bachman Photography for Pittsburgh Opera
Leave a Reply Cancel reply