It’s been said that opera companies program Tosca as an “easy” way to end their season. It is, after all, an opera that focuses on only three principal characters, and therefore is ostensibly an opera that is less complicated than others to produce; almost a toss-off. Opera Baltimore and OperaDelaware’s recent co-production proves that dismissive idea wrong. As the first mainstage production of the new season, this one couldn’t have felt further from a “toss-off.” John Raley’s scenic design featured the most interesting angles and shapes I’ve yet seen for this opera. A circle dominated the set, in Act I functioning as the frame for Cavaradossi’s painting, in Act II functioning as the frame for the windows in Scarpia’s office, and in the final act functioning almost like a target sight for Cavaradossi’s tragic end. In short, the set was amazing and a standout part of this production.
Besides all three leads being more than solid, the supporting cast likewise rose up to make this production feel special. Immediately evident, for example, was the sense of urgency Gerard Moon brought to his role as Cesare Angelotti, displaying good acting as well as good singing. Brian James Myer also stood out in Act I as the Sacristan with some comedic moments, at first covered a little bit by the orchestra but getting stronger as the act progressed, coming through with solid vocal tone.
Emily Margevich as Floria Tosca and Steven Condy as Baron Scarpia
As Cavaradossi, John Pickle delivered a “Recondita armonia” that had a particularly solid ending. In Act I, it felt like more reactions were needed from this character, but as the opera progressed, both Pickle’s acting and singing got stronger and stronger, his voice carrying over the orchestra and winning the audience over, causing us to sympathize with the character and root for him. Particularly memorable were his screams while being tortured in Act II and the beautiful pianos in “E lucevan le stelle” in Act III. In fact, I liked that aria better for him than “Recondita armonia” – there was something arresting about it.
Known as the consummate villain, the performer in the role of Baron Scarpia must make an impression, and Steven Condy more than rose to the task. He commanded the stage from the moment he entered. I loved his acting because it made me love to hate the character, just as it should be. It was a performance that made the audience positively giddy at his death in Act II. Not only that, but even at the loudest moment of Act I – the end of the “Te Deum” – his voice could still be heard over the massive orchestral sound. Kudos here, too, to the entire chorus and chorus master George Herncher for leaning in to the wall of sound Puccini created at the end of this act. Chills abounded in hearing it.
Right: John Pickle as Mario Cavaradossi
While all the men did fantastic jobs, lest anyone forget the title of the opera, it must be said that Emily Margevich showed the audience why the opera is and should be called Tosca. In the first place, I don’t know that I’ve yet seen a more gorgeous stage presence and voice for this role in my lifetime. Costume coordinator Imari Pyles contributed to this by having Tosca’s gowns embody the word “diva,” in Act I featuring orange and gold hues, and in Acts II and III the iconic red gown with red gloves, cloak, and ruby-studded tiara. But it was Margevich’s voice that won the day. Hers has amazing resonance, a natural “microphone” that not only more than cut through the orchestra, but also dominated in moments when she was singing with others. That said, ensemble-wise I particularly loved her unison singing in Act III with Pickle. Solo-wise, every moment she went into chest voice felt raw, unapologetic, and human, as verismo singing should be. Her “Vissi d’arte” in Act II was beautiful in the beginning and made the audience feel appropriate pain by the end, which set up the giddy feeling mentioned earlier when she stabs Scarpia to death. The aria was also a moment when it was clear that conductor Domenico Boyagian and stage director Haley Stamats, incidentally both clearly masters of their crafts, were united with Margevich in the goal of serving the story above all else. Neither the acting nor the singing overpowered the other; it was the perfect balance.
Act III brought everything full-circle in a few ways, firstly with Pickle’s “E lucevan le stelle” and unison singing with Margevich mentioned earlier. Secondly, the entire final sequence, from Cavaradossi’s execution to Tosca’s epic final high note and fall off the Castel Sant’Angelo wall, was excellent, not least of all because director Stamats chose a unique formation for the firing squad in relation to Cavaradossi. They were not just standing in a line but rather positioned on and off the stairs, keeping the audience’s attention.
All things considered, this was a great season opener for two great opera companies. This production of Tosca should be held up as the baseline example for other opera companies. The only big-picture question that came to mind was whether the orchestra should have taken a softer dynamic overall. Other than that, this was very much the experience one wants when going to the opera: great sets, and costumes, a thrilling, full orchestral sound, and a soprano that deserves her title role even more than you might expect. Bravi tutti!
Maggie Ramsey
Tosca Composed by Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica
Cast and Production Staff
Floria Tosca – Emily Margevich; Mario Cavaradossi – John Pickle; Baron Scarpia – Steven Condy; Cesare Angelotti – Gerard Moon; A Sacristan – Brian James Myer; Spoletta – Malcom Richardson; Sciarrone – Ben Isaac Ross; A Jailer – Dante Doganiero; A Shepherd Boy – Andrew Schucker; Chorus – Suzanne Blair, Rachel Cetel, Ryan Colbert, Kelly Monteith, Marissa Perri, Rachel DiBlasio, Jenna Grissom, Gayssle Lugo, Rachel Pomeranz, Amanda Staub, Daniel Beck, Tim Faulkner, Peter Juengst, Christopher Lorge, Andrew McGowan, Doug Rowland, Jeff Cannon, Dante Doganiero, Tim Kjer, Peter Murphy, Michael Pistorio, Supernumeraries – Richard S. Huffman, James Isabella, Peter Juengst, Fancis Mandimore; Children’s Chorus – Autumn Isabella, Haniyah Jenkins, Cole Nerner, Andrew Schucker
Violin 1 – Emily Barkakatt (Concertmaster), Rodolfo Jambol Leuenberger, Lionel Thomas, Janet Kuperstein, Ian Jeff; Violin 2 – Melina Gajger (Principal), Eliso Gegeshidze, Lorenzo Raval, Silva Boletini; Viola – Alexandra VandeGejn (Principal), Catherine Frey, Kate Zahradnink, Julius Wirth, Cello – Larry Stomberg (Principal), Ross Beauchamp, Sue Lerner, Lori Barnet, Miles Brown, Laura Dwyer (Principal), Eve Friedman; Oboe/English Horn – Alicia Maloney; Clarinet – Edna Huang, Cheryl Hill; Bassoon – Eddie Sanders (Principal); Horn – Michael Hall (Principal), Allison Akins; Trumpet – Kevin Paul (Principal), Chris Watkins; Trombone – Jon Schubert (Principal); Timpani/Percussion – Harvey Price (Principal); Percussion – Glenn Paulson, Greg Herron, Travis Goffredo; Keyboard – Husan Chun-Novak; Harp – Jacqueline Pollauf
Conductor – Domenico Boyagian; Director – Haley Stamats; Production Manager – Grace Brega; Chorus Master – George Herncher; Rehearsal Pianist – Husan Chun-Novak; Production Stage Manager – Jenna Jacobson; Assistant Stage Manager – Hannah Hannon; Scenic Designer – John Raley; Lighting Designer – Tláloc López-Watermann; Associate Lighting Designer – Elijah Thomas; Hair & Makeup Designer – Brittany Rappise, The Makeup Wigstress; Scenic Artist – Erica Harney; Props Coordinator – Chelsea Dean; Costume Coordinator – Imari Pyles
Stephens Hall, Towson, MD, October 8, 2025
Top image: Left: Brian James as A Sacristan. Right: John Pickle as Mario Cavaradossi
We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.
Opera Baltimore and OperaDelaware’s Tosca: Viva To The Diva
It’s been said that opera companies program Tosca as an “easy” way to end their season. It is, after all, an opera that focuses on only three principal characters, and therefore is ostensibly an opera that is less complicated than others to produce; almost a toss-off. Opera Baltimore and OperaDelaware’s recent co-production proves that dismissive idea wrong. As the first mainstage production of the new season, this one couldn’t have felt further from a “toss-off.” John Raley’s scenic design featured the most interesting angles and shapes I’ve yet seen for this opera. A circle dominated the set, in Act I functioning as the frame for Cavaradossi’s painting, in Act II functioning as the frame for the windows in Scarpia’s office, and in the final act functioning almost like a target sight for Cavaradossi’s tragic end. In short, the set was amazing and a standout part of this production.
Besides all three leads being more than solid, the supporting cast likewise rose up to make this production feel special. Immediately evident, for example, was the sense of urgency Gerard Moon brought to his role as Cesare Angelotti, displaying good acting as well as good singing. Brian James Myer also stood out in Act I as the Sacristan with some comedic moments, at first covered a little bit by the orchestra but getting stronger as the act progressed, coming through with solid vocal tone.
As Cavaradossi, John Pickle delivered a “Recondita armonia” that had a particularly solid ending. In Act I, it felt like more reactions were needed from this character, but as the opera progressed, both Pickle’s acting and singing got stronger and stronger, his voice carrying over the orchestra and winning the audience over, causing us to sympathize with the character and root for him. Particularly memorable were his screams while being tortured in Act II and the beautiful pianos in “E lucevan le stelle” in Act III. In fact, I liked that aria better for him than “Recondita armonia” – there was something arresting about it.
Known as the consummate villain, the performer in the role of Baron Scarpia must make an impression, and Steven Condy more than rose to the task. He commanded the stage from the moment he entered. I loved his acting because it made me love to hate the character, just as it should be. It was a performance that made the audience positively giddy at his death in Act II. Not only that, but even at the loudest moment of Act I – the end of the “Te Deum” – his voice could still be heard over the massive orchestral sound. Kudos here, too, to the entire chorus and chorus master George Herncher for leaning in to the wall of sound Puccini created at the end of this act. Chills abounded in hearing it.
While all the men did fantastic jobs, lest anyone forget the title of the opera, it must be said that Emily Margevich showed the audience why the opera is and should be called Tosca. In the first place, I don’t know that I’ve yet seen a more gorgeous stage presence and voice for this role in my lifetime. Costume coordinator Imari Pyles contributed to this by having Tosca’s gowns embody the word “diva,” in Act I featuring orange and gold hues, and in Acts II and III the iconic red gown with red gloves, cloak, and ruby-studded tiara. But it was Margevich’s voice that won the day. Hers has amazing resonance, a natural “microphone” that not only more than cut through the orchestra, but also dominated in moments when she was singing with others. That said, ensemble-wise I particularly loved her unison singing in Act III with Pickle. Solo-wise, every moment she went into chest voice felt raw, unapologetic, and human, as verismo singing should be. Her “Vissi d’arte” in Act II was beautiful in the beginning and made the audience feel appropriate pain by the end, which set up the giddy feeling mentioned earlier when she stabs Scarpia to death. The aria was also a moment when it was clear that conductor Domenico Boyagian and stage director Haley Stamats, incidentally both clearly masters of their crafts, were united with Margevich in the goal of serving the story above all else. Neither the acting nor the singing overpowered the other; it was the perfect balance.
Act III brought everything full-circle in a few ways, firstly with Pickle’s “E lucevan le stelle” and unison singing with Margevich mentioned earlier. Secondly, the entire final sequence, from Cavaradossi’s execution to Tosca’s epic final high note and fall off the Castel Sant’Angelo wall, was excellent, not least of all because director Stamats chose a unique formation for the firing squad in relation to Cavaradossi. They were not just standing in a line but rather positioned on and off the stairs, keeping the audience’s attention.
All things considered, this was a great season opener for two great opera companies. This production of Tosca should be held up as the baseline example for other opera companies. The only big-picture question that came to mind was whether the orchestra should have taken a softer dynamic overall. Other than that, this was very much the experience one wants when going to the opera: great sets, and costumes, a thrilling, full orchestral sound, and a soprano that deserves her title role even more than you might expect. Bravi tutti!
Maggie Ramsey
Tosca
Composed by Giacomo Puccini
Libretto by Giuseppe Giacosa and Luigi Illica
Cast and Production Staff
Floria Tosca – Emily Margevich; Mario Cavaradossi – John Pickle; Baron Scarpia – Steven Condy; Cesare Angelotti – Gerard Moon; A Sacristan – Brian James Myer; Spoletta – Malcom Richardson; Sciarrone – Ben Isaac Ross; A Jailer – Dante Doganiero; A Shepherd Boy – Andrew Schucker; Chorus – Suzanne Blair, Rachel Cetel, Ryan Colbert, Kelly Monteith, Marissa Perri, Rachel DiBlasio, Jenna Grissom, Gayssle Lugo, Rachel Pomeranz, Amanda Staub, Daniel Beck, Tim Faulkner, Peter Juengst, Christopher Lorge, Andrew McGowan, Doug Rowland, Jeff Cannon, Dante Doganiero, Tim Kjer, Peter Murphy, Michael Pistorio, Supernumeraries – Richard S. Huffman, James Isabella, Peter Juengst, Fancis Mandimore; Children’s Chorus – Autumn Isabella, Haniyah Jenkins, Cole Nerner, Andrew Schucker
Violin 1 – Emily Barkakatt (Concertmaster), Rodolfo Jambol Leuenberger, Lionel Thomas, Janet Kuperstein, Ian Jeff; Violin 2 – Melina Gajger (Principal), Eliso Gegeshidze, Lorenzo Raval, Silva Boletini; Viola – Alexandra VandeGejn (Principal), Catherine Frey, Kate Zahradnink, Julius Wirth, Cello – Larry Stomberg (Principal), Ross Beauchamp, Sue Lerner, Lori Barnet, Miles Brown, Laura Dwyer (Principal), Eve Friedman; Oboe/English Horn – Alicia Maloney; Clarinet – Edna Huang, Cheryl Hill; Bassoon – Eddie Sanders (Principal); Horn – Michael Hall (Principal), Allison Akins; Trumpet – Kevin Paul (Principal), Chris Watkins; Trombone – Jon Schubert (Principal); Timpani/Percussion – Harvey Price (Principal); Percussion – Glenn Paulson, Greg Herron, Travis Goffredo; Keyboard – Husan Chun-Novak; Harp – Jacqueline Pollauf
Conductor – Domenico Boyagian; Director – Haley Stamats; Production Manager – Grace Brega; Chorus Master – George Herncher; Rehearsal Pianist – Husan Chun-Novak; Production Stage Manager – Jenna Jacobson; Assistant Stage Manager – Hannah Hannon; Scenic Designer – John Raley; Lighting Designer – Tláloc López-Watermann; Associate Lighting Designer – Elijah Thomas; Hair & Makeup Designer – Brittany Rappise, The Makeup Wigstress; Scenic Artist – Erica Harney; Props Coordinator – Chelsea Dean; Costume Coordinator – Imari Pyles
Stephens Hall, Towson, MD, October 8, 2025
Top image: Left: Brian James as A Sacristan. Right: John Pickle as Mario Cavaradossi
All photos by Moonloop Photography LLC