Giacomo Puccini’s Tosca is a Top Ten favorite that hasn’t been seen at Des Moines Metro Opera since 2009, so the company thought it was high time to give its public another look at this evergreen thriller.
Thanks to a thoroughly inventive creative team, a splendid cast of top tier singers, and an impassioned orchestra, the old girl made a most welcome return. This well worn favorite comes with a good deal of baggage, insofar as famous (and in some cases, infamous) stagings over the decades have generated audience expectations for key dramatic moments. Happily DMMO honored most of them while striving for a fresh take on occasion.
Laura Wilde was a wholly successful Floria Tosca. She is as glamorous a diva as could be wished for, and her substantial spinto soprano rings out with gleaming power, easily riding even the most thundering orchestral passages. Her radiant tone “speaks” in all registers, with her soaring upper register knit to an admirably meaty lower middle. While I may have seen fierier Tosca’s in my day, Ms. Wilde is a fine, sincere, unmannered actress who demonstrably has the star power to command the action.
As Mario Cavaradossi, Brian Michael Moore proved to be her equal partner. He has a lean, youthfully handsome presence, and his plush, pliable tenor was a perfect fit for the role’s demands. From the thrillingly shaped Recondita armonia to the clarion outbursts of Vittoria to the throbbing intensity of a brilliantly understated E lucevan le stelle, Mr. Moore delivered these world famous arias and more with laudable technique and meticulously controlled musicianship.
Baron Scarpia was embodied by Norman Garrett, a baritone last seen at DMMO as a potent Jokanaan in Salome. Unlike many an interpreter of Scarpia, he is strikingly handsome and he does not ever resort to barking his malevolent orders. Mr. Garrett offers a mellifluously sung, beautifully judged musical account of the role. His potent, burnished voice impresses as much for its uncommon beauty as for its intelligent deployment.
Allen Williams started the show of with panache as a panicked Angelotti, his well-focused bass limning his desperation with well-colored urgency. As the Sacristan, Wei Wu displayed a rolling bass that successfully encompassed the role in a unique way that was not the usual buffo model. His acting and facial expressions were a fresh take on the part but thankfully stopped short of being too cloying. Lucas Van Lierop revealed a sizable, ringing tenor as Spoletta, while Titus Muzi III brought his manly, full-throated baritone to bear as Sciarrone. Liam Chicas sang enchantingly as the off stage Shepherd.
Conductor Christopher Allen led a suave and cohesive performance, and he partnered remarkably with his soloists through all of the give and take of Puccini’s vocal writing. The ensemble was seamless, and the haunting Act III clarinet solo was alone the price of admission. If I have heard other traversals of this score that had a smidgen more “drama” in the “melodrama,” Maestro Allen nevertheless helmed a resoundingly effective effort. Lisa Hasson’s chorus was prepared to her usual standard, and Mary Craven Bartemes’ Youth Chorus was a well-tutored delight.
Director Joshua Borths can always be counted upon to do conscientious, well-considered stagings and so it is with Tosca. I was especially impressed by the crowd management of the Te Deum that closes Act I, where the swarming hordes were beautifully arranged, and the focus was cleanly achieved. The rowdy young choristers scene was infectious and notably well controlled. I like, too, that Mr. Borths used the entire space with good motivation and variety, and that he risked parting from tradition to put his own stamp on the proceedings.
I really appreciated many well thought out details of the character relationships, which were embraced by the performers and executed with commitment. One departure that didn’t engage me was Visse d’arte. At that point, Tosca is completely defeated and usually stays immobilized by her emotional state. Although it was gorgeously sung, having her moving during it, pacing and musing, seemed out of character. But that is one moment out a successful evening, and Mr. Borths is to be commended for his overall achievement.
Steven C. Kemp’s stupendous scenic design vividly brought to life three different iconic Roman landmarks with consummate skill and grandeur. They were not only lavish structures but were also winningly dressed. Robert Perdziola has provided a sumptuous and wide-ranging costume design, although I wondered if Tosca would have had time or inclination to change her dress to a simple frock for Act III, after brutally murdering Scarpia. Kate Ashton has once again contributed a highly effective lighting design, most notable for its lovely bittersweet incremental dawn effect in Act III. The ubiquitous Brittany V.A. Rappise handled the hair and make-up design with great dexterity.
The capacity audience was obviously overjoyed that Tosca had made a blockbuster return to Des Moines Metro Opera, as evidenced by the roaring ovation that shook the rafters.
James Sohre
Tosca
Music by Giacomo Puccini
Libretto by Luigi Illica and Giuseppe Giacosa
Angelotti: Alan Williams; Sacristan: Wei Wu; Mario Cavaradossi: Brian Michael Moore; Floria Tosca: Laura Wilde; Baron Scarpia: Norman Garrett; Spoletta: Lucas Van Lierop; Sciarrone: Titus Muzi III; Shepherd: Liam Chicas; Jailer: Robert Frazier; Conductor: Christopher Allen; Director: Joshua Borths; Scenic Designer: Steven C. Kemp; Costume Designer: Robert Perdziola; Lighting Designer: Kate Ashton; Hair and Makeup Designer: Brittany V.A. Rappise; Chorus Director: Lisa Hasson; Youth Chorus Director: Mary Craven Bartemes
Top image: Te Deum Scene with Full Chorus and Supernumeraries
All photos © Cory Weaver