Puccini was so captivated by Sardou’s play La Tosca (performed in French by Sarah Bernhardt), that, despite not understanding a word of it, he set it to music. Puccini even climbed the parapet of Castel Sant’Angelo before dawn, carefully writing out the exact pitches and rhythms of the bells heard at daybreak, recreating them in Act III’s prelude. Critics initially disliked the violence in the play, calling it “a shabby little shocker.” However, the opera continues to fill theaters, proving the critics wrong!
This may be the final performance of Jonathan Kent’s magnificent 2006 production, originally created with Welsh bass-baritone Sir Bryn Terfel as Scarpia. The scale and grandeur of the late Paul Brown’s stunning sets, combined with the brutal orchestration, underscore the immense power and cruelty of both the Church and the State. Much acclaim has been heaped upon this production, but after seeing David McVicar’s from the Met, one can appreciate the finer details that elevate McVicar’s version. For example, the two-tier Act 1 set, paired with the heavy “Scarpia” chords, more effectively demonstrates the overwhelming dominance of Church and Power. Cavaradossi and Tosca are portrayed as mere cogs in the wheel, with the ‘Te Deum’ ending Act 1 being utterly overwhelming.
Tosca is an intense psychological drama of lust and political manipulation under the oppressive regime of the Chief of Secret Police, Scarpia. The action is set on June 17th, 1800, the day news arrived in Rome of Napoleon’s defeat at Marengo. Tosca, a celebrated diva, is driven by her love for Cavaradossi, an artist with liberal politics. Scarpia lusts after Tosca and seeks to eliminate Cavaradossi. While Tosca is based on real characters and events, the “uccisione simulato” (fake execution) of Palmieri is fictitious.
Terfel returns as Scarpia with a powerhouse performance. From his first entry, his menacing presence sends chills down your spine. His towering, brutish figure is one you would not want to cross. Although Terfel’s voice has somewhat declined in recent years, the role of Scarpia does not demand a mellifluous, bel-canto tone. Rather, it requires an intelligent use of language—snarling consonants like “tre sbirri, una carozza” (three cops, one carriage)—as he watches, plots, and strikes. There are moments in Act I’s finale where neither Terfel nor the chorus can be heard due to the overwhelming orchestration. Rising star Korean conductor Eun Sun Kim, music director of San Francisco Opera, could dial down the volume slightly to address this issue.
Welsh-Ukrainian soprano Natalya Romaniw offers a lighter interpretation of Tosca, but one that is no less compelling. Her portrayal allows her to show a more delicate, feminine side, which heavier voices often cannot convey. Her rendition of “Vissi d’arte” (I lived for art) benefits from this extra dimension, displaying subtle nuance rarely heard in the role.
Korean tenor Seokjong Baek, who spent 15 years singing as a baritone before transitioning to a tenor during the lockdown, truly shines here. Baek saved the day as a last-minute replacement in Samson and quickly gained recognition. He shares great chemistry with Romaniw, and vocally, they are a well-matched pair, making a convincing couple. Baek’s portrayal of Cavaradossi is dynamic and expressive. His “Recondita armonia” in Act 1, with a dramatic break in his voice, is thrilling—a technique that not all tenors can execute. His excellent Italian is clear in every word, and his “Vittoria, vittoria” is particularly exhilarating. In Act 3, “E lucevan le stelle” (the stars were shining) is a standout moment, where Baek’s expressive voice, lovely use of suspended notes, and dramatic vocal breaks shine.
The question for any Cavaradossi is whether he truly believes Scarpia will allow him his freedom. Most portrayals of the character are resigned to the fact that Scarpia’s cruelty will prevent his escape. However, Baek’s Cavaradossi seems to genuinely trust Tosca, and his belief in the possibility of his escape adds an intriguing layer to the character.
The minor roles are well-cast as well. Seasoned Italian bass Maurizio Muraro is an excellent Sacristan, and Welsh tenor Aled Hall stands out as an unusually nasty Spoletta, taking over where Scarpia leaves off. British bass-baritone Ossian Huskinson, a current Jette Parker Artist, impresses as Angelotti with his exciting vocal quality, signaling that we’ll be hearing more from him in the future.
Music by Giacomo Puccini (1858-1924)
Libretto Giuseppe Giacosa and Luigi Illica based on Victorien Sardou’s play La Tosca
Conducted by Eun Sun Kim
Directed by Jonathon Kent
Set by Paul Brown
First performance Teatro Constanzi Rome 14 January 1900
Cast includes Seokjong Baek, Natalya Romaniw, Bryn Terfel, Maurizio Muraro, Ossian Huskinson,
Aled Hall
Running time 3 hours with two intervals
In repertoire until 2nd December 2024