TOSCA – REVIEW OF 2025 GLIMMERGLASS FESTIVAL PRODUCTION

 Reviewed by James Karas

 The Glimmerglass Festival is celebrating its 50^th anniversary season and that speaks of its longevity and the high quality of its productions. For those who have not been there, it is held in the Alice Busch Opera Theatre on the shores of Lake Otsego in upstate New York. Doesn’t ring a bell? How about it is next door to Cooperstown, the home of the Baseball Hall of Fame? That’s better.

 This year the Festival offers four operas among other events. The operas represent the usual eclectic choice this year of the effervescent Artistic and General Director Rob Ainsley. Puccini’s Tosca is the staple. Sunday In The Park With George is the American classic musical. Stravinsky’s The Rake’s Progress is the adventurous 20^th century classic  and The House on Mango Street with music by Derek Merkel and libretto by Sandra Cisneros and Bermel is a new opera.

Director Louisa Proske and Designer John Conklin offer a unique, imaginative and brilliant production of Puccini’s masterpiece. They have their own take on the opera and despite some aspects that may strike us as unorthodox or head-scratching the result is a marvelous production.

First, the singers. You can’t have a Tosca without a highly qualified soprano. American soprano Michelle Bradley delivers a stunning performance in the lead role. She has a big, brilliant and expressive voice that simply knocks you over. She can be the jealous woman who goes crazy over the idea that her lover Cavaradossi is painting another beauty, a passionate lover in her duets with the same man and a fury when confronted by a sadistic would-be rapist. She can belt out her phrases and express tender memories as in “Vissi d’arte”.    

The other essential part of the opera is the sadistic Scarpia sung here by American bass-baritone Greer Grimsley. Scarpia relishes his lust and tells us he prefers force over consent. He is a rapist. He has the great scene with Tosca where he tries to seduce her and rape her. He thunders his joy at torturing people and at his absolute control over them. We watch with delight as Tosca stabs him to death on the bed in his office where he had a woman before Tosca arrived.

 

Greer Grimsley as Baron Scarpia, Yongzhao Yu as 

Mario Cavaradossi, and Kellan Dunlap as Spoletta. 

Photo Credit: Kayleen Bertrand/The Glimmerglass Festival

American tenor Yongzhao Yu sings a fine Cavaradossi. He sings a sound E lucevan le stelle but he is out sung in his duets with Tosca.

Proske and Conklin put their own stamp on the production. As the lights go on, the set appears and it seems that the monumental interior of the Church of St. Andrea where the first act is set is being renovated. There are tarps and scaffolding all around except for the back of a large easel and a small Madonna on a pedestal. We never see what Cavaradossi is painting. The tarps do fall for the Te Deum at the end of the act but there is no spectacular splendor.

The second act is in Scarpia’s presumably opulent office. The furniture is ordinary to cheap and there is a bed with a women getting dressed after having finished the obvious. There is a table, a bathroom with a shower and a cheap desk. The torture room is in the back.

All the furniture from Scarpia’s office is removed for the third act which is supposed to take place atop the Castel Sant’Angelo. It does not. There is no parapet for Tosca to jump off and Proske solves the problem with a gun. Tosca shoots herself.

We may miss the Zeffirellian grandeur but surprisingly the changes do not take away from the drama and effectiveness of the production. There are many nice touches. When the sacristan Sergio Martinez sees Cavaradossi’s painting he is startled and when he sweeps the floor, he pushes the dirt under the tarps. Funny.

For the Shepherd’s Song, Proske develops a scene with a small angel, a priest and a ritual with the Madonna (I think) appearing. It is cute and necessary for the stage to be cleared for  the following scene.

Proske along with Conklin gives us an original and stunning production of an old chestnut.

Conductor Joseph Colaneri leads the Glimmerglass Festival Orchestra and Chorus to a rousing performance that earns them all a standing ovation.

The Glimmerglass Festival strikes a significant note for freedom and democracy. The cover of its impressive 158-page program shows an unprepossessing picture of a wall. In fact, it is the space where Cavaradossi will be killed and Tosca commits suicide. The photograph on the program is not an accident. Tosca is about political oppression, abuse of power and murder and torture of people.

Before the opera begins, we read projected on a screen the words Prof. Timothy Snyder about tyranny. I do not recall the exact text but these words from him give you the idea: We are no wiser than the Europeans who saw democracy yield to fascism, Nazism, or communism. Our one advantage is that we might learn from their experience. He is talking about America today and the Festival shows guts where many Americans cave in to despotism.

Bravo Glimmerglass Festival.

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Tosca by Giacomo Puccini is being performed ten times until August 16, 2025, at the Alice Busch Opera Theater as part of the Glimmerglass Festival Cooperstown, New York. Tickets and information www.glimmerglass.org

James Karas is the Senior Editor, Culture, of The Greek Press, Toronto