Reviewed by James
Karas
The Canadian Opera
Company wraps up its 2016-2017 season with the second revival of Paul Curran’s
production of Tosca. It is a highly praiseworthy production that has stood
the test of time very well.
The COC has assembled a first rate cast led by Canadian soprano Adrianne
Pieczonka in the title role with tenor Marcelo Puente as Cavaradossi and
bass-baritone Markus Marquardt as Scarpia. The latter two are making their COC
debus while Pieczonka sang in the 2008 revival of this production.
Much depends on the soprano who plays the lead role and handles the passionate, histrionic and highly dramatic Tosca. She is
jealous, suspicious and loving in the first act. Her over-the-top jealousy and
suspicions elicited some laughter. In the second act she is the diva who is
forced to hear her lover being tortured as the malevolent Scarpia tries to
seduce her. He wants her body in exchange for Cavaradossi’s life. In the third
she is heroic as she celebrates the imminent release of Cavaradossi and their
escape to freedom.
Adrianne Pieczonka as Tosca and Markus Marquardt as Scarpia
in Tosca. Photo: Michael
Cooper
Her sumptuous voice is lyrical, passionate and dramatic as she goes
through the various stages. “Vissi d’arte” is Tosca’s signature aria, a
recollection of a life for art, beauty, faith and humanity wrecked by a
malicious officer of the law. Even God has forsaken her. My one complaint is
about her performance in the scene where she stabs Scarpia. After inflicting
psychological torture on her and getting her to finally submit to his lechery, Tosca
kills her tormentor. It is a moment of supreme triumph and horror. She taunts
him as he is dying and when she sings “Die …die…die” I wanted to hear a scream
filled with venom and triumph. Pieczonka was dramatic but fell short of the
possibilities of the scene.
I wonder how effective it would be if, after her last expression of
contempt and victory, “And before this man, all Rome trembled!” she spits on
him?
Puente sang an impressive Cavaradossi. In his moment of triumph when he hears that Napoleon has conquered Rome,
Puente belts out and holds “Vittoria” and sings joyously about freedom. In “E
lucevan le stele,” his beautiful aria before his death, he remembers falling in
love with Tosca, her embrace, her languorous caresses and her radiant beauty.
He sings with so much pathos, longing and beauty that he brought the house down.
Adrianne
Pieczonka as Tosca and Marcelo Puente as Cavaradossi in Tosca. Photo: Michael
Cooper
Marquardt is a business-like creep which increases his malice and lust
by not being overdone. He is a man who knows his power and is free to treat and
mistreat people at will. Marquardt succeeds in his portrayal vocally in his
assured singing and as a character in his display of evil.
Curran and Set and Costume Designer Kevin Knight take a conservative
approach to the opera. The church of Sant’Andrea della Valle in the opening
scene is monumental with two large columns dominating the set. The columns are
moved to the side opening the whole stage to the entry of a very sumptuously
attired chorus that delivers a rousing end to Act I.
Scarpia’s office in Act II is elegantly furnished as becomes its
powerful occupant. The ramparts
of Castel Sant’Angelo where Cavaradossi is executed and from which Tosca jumps
to her death are impressive and appropriate.
The COC Orchestra is conducted by Keri-Lynn Wilson who has many virtues
as a conductor in addition to doing a superb job. She is a woman (yes, they are
still a rarity on the podium), she is Canadian and she is making her debut with
the COC. What more do you want?
An overall outstanding production of one of the most popular operas.
_____
Tosca by Giacomo Puccini opened on April 30 and will
be performed twelve times with some cast changes until May 20, 2017 at the Four
Seasons Centre for the Performing Arts, 145 Queen
Street West, Toronto, Ontario. Tel: 416-363-6671. www.coc.ca
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