from the cheap seats
Home of the New Ottawa Critics. Ottawa theatre reviews. No Holds Barred.
Tosca: Dark Drama Done Right
http://newottawacritics.com/2014/09/08/tosca-dark-drama-done-right/
Tosca: Dark Drama Done Right
Brianna McFarlane
If I had to pick only one reason why I enjoy going to watch live opera it would
have to be for the chills. Opera is one of the only dramatic forms in which I
gauge how much I like a show vis a vis the number of times I get goose-bumps.
This is not to say that opera is unique in its ability to affect its audience in such
a physical manner, but that to an uninitiated practitioner of the craft, goosebumps are a good indication of the skill of the composer(s), the orchestra, and
the vocalists themselves.
(Photo by Tim Matheson)
When I attended Opera Lyra’s season opener Tosca I was most looking
forward to seeing one of Giacomo’s most famed melodramas having already
seen OL’s production ofMadama Butterfly last season. While I was not overly
affected by the tragedy of Cio Cio San, the number of times the my being was
engulfed in shivers by this rendition of Toscawas enough to keep me captivated
through its entire three hour and ten minute run time. This is impressive also
considering the various difficulties this production faced right up until opening
night and yet not even the stumble of the leading lady during one of her final
moments could make it any less so.
Tosca, set in Rome in the 1800s, is a melodrama that turns on the tension
between the Kingdom of Naples’ control of Rome and the threat of Napoleon’s
invasion of Italy. Inspired by French playwright Victorien Sardou’s La
Tosca (written for popular actress of the time Sarah Bernhardt), Puccini’s
adaptation depicts the story of famed opera singer Floria Tosca caught
between the old Italian order as embodied by her lover Cavaradossi who is an
ally to the aristocracy; and the new order brought in by Baron Scarpia, chief of
the secret police who greatly covets Tosca for himself. Though it contains
depictions of torture, murder and suicide, the dramatic forice of Tosca and its
characters continue to fascinate both performers and audiences and it remains
one of the most frequently performed operas even today. With a more than
able cast and an effective design, Opera Lyra has a very strong production on
their hands.
The set, designed by David Gano, is dark, beautiful, and gothic adding even
more drama to the piece. I appreciated the use of scale in that the walls and
doors seemed to be very large and daunting as if to suggest the smallness and
insignificance of these characters in the grand scheme of things. The costumes,
provided by Malabar, are sumptuous and appropriate to both time and
geography being portrayed and lighting designer, Kevin Lamotte, by way of
playing with shadows is able to add even more texture to the scenery and the
universe of this production. These adequate designs, however, are given life by
the show’s strong ensemble.
(Photo by Tim Matheson)
David Pomeroy, who I did not love in OL’s Carmen, shines bright here as
painter Mario Cavaradossi, with a voice that transitions easily from assertive
and dominant to tender and romantic creating some nice depth within his
character. Todd Thomas’ portrayal of the villainous Baron Scarpia is also
effectively nuanced and his deep baritone reveals this character’s facets
ranging from brutal pharisee to manipulative sadist. Michele Capalbo in the
title role proves she’s a strong leading lady whose robust vocals and sense of
control deliver the dramatic and emotional punch needed for Tosca’s most
well-known arias. Finally, credit must be given to the entire cast and crew
when disaster struck mere moments before the curtain rose.
When performer James McLennan, cast as Spoletta, suffered a severe allergic
reaction and was immediately rushed to the hospital, Principal Repetiteur
Judith Ginsburg stepped in and walked through the part (with the help of cast
members telling her what to do in between scenes) while chorus member Chris
Oliveria sang the role from the wings. This by no means detracted from the
performance and only serves to demonstrate one of the many aspects of that
which we call the magic of live theatre. McLennan is reported to return for the
rest of the run and I would bet that this production, like the little engine that
could, will only gain momentum.
Overall, this is a strong opening number for Opera Lyra’s 30th anniversary
season. The design team and the cast, under the direction of Stage Director
Guy Montavon and Music Director Pinchas Zukerman, really exact all of the
drama and tensions found within Puccini’s opera and they certainly fill the
piece with life. I was always taught to be aware of one’s own involuntary
reactions as an audience member, which is why things like hand clenching, the
quickening of breath, and goose-bumps are all indicators as to how a
performance affects you on a physical level even if you are not an expert in
that particular field. Tosca is a successful production because the engagement
and investment, for me, comes from its ability to make the skin prickle and to
continually inspire chills.