Review: TOSCA at McCaw Hall

In our technology-dominated times, a “classic” production of a perennial operatic favorite is always welcome. Seattle Opera has granted every traditional opera fan’s wish in its latest take on Giacomo Puccini’s archetypal masterwork, Tosca. Brought back to the Seattle stage after a successful 2015 run, this recreation of the sumptuous scenery and stylish period costumes, coupled with a first-rate cast, added up to an evening to delight the eyes and ears of the audience.

Written at the height of Puccini’s compositional powers, the opera has been performed by the world’s leading singers since it premiered in Rome in 1900. Assembling a cast that can fill the shoes of these virtuosi is not easy, but all the artists in the May 11 SO performance completed their tasks admirably.

The title role of the fiery stage diva Tosca is so iconic as to be daunting for anyone following in some of the great singers’ footsteps. Up to the task was Armenian soprano Lianna Haroutounian, who used her opulent voice to milk every dramatic moment to the maximum. She made the most of her opportunity to shine in the illustrious aria Vissi d’Arte, with well-connected phrasing and a high B-flat that was thrilling. Dramatically, Haroutounian gave a well-balanced and convincing rendering of the diva’s diverse emotional journey as the woman who transforms from idealistic and smitten to desperate enough to commit murder to save her lover’s life.

Korean tenor Yonghoon Lee, who made a lasting impression in the company’s 2023 concert presentation of Samson and Delilah, delivered a compelling rendering of Tosca’s paramour, Cavaradossi. His lung power was impressive, and his voice showed immense power, especially in the upper range, though at times the amount of volume was overdone.

 

Lee and Haroutounian blended perfectly in their scenes together, the highlight of which was their Act 1 love duet, one of the most dizzyingly sexual in recent memory.

In his SO debut, world-renowned Serbian baritone Željko Lučić upheld his outstanding reputation in his portrayal of the malicious Scarpia. Having gained his reputation by singing such roles as Scarpia and Macbeth at the Metropolitan Opera, his appearance here was much anticipated. He proved more than worthy of the highest expectations. From the moment he appeared onstage, he projected a malevolence that grabbed the listener in a take-no-prisoners attitude and his commanding voice showed limitless power over his world. It’s hard to imagine anyone scarier or creepier than this villain. His portrayal was so egregiously evil that when he gasped his final breath, the audience applauded raucously in unison.

It is always a pleasure to watch and listen to bass Adam Lau, now a SO favorite through his many roles performed here in the past several seasons. He gave his all as beleaguered escapee Angelotti, displaying breathless despair with both his admirable vocality and skilled dramatic sense.

In the comprimario roles, other familiar SO performers rounded out the cast with consistently commendable singing: Barry Johnson as the Sacristan and John Marzano as Spoletta, with Ilya Silchukou debuting as Sciarrone and Micah Parker in his main stage debut as the Jailer. Former Magic Flute genie Grace Elaine Franck-Smith sang the Shepherd Boy angelically with lovely tones.

Chorus Master Michaella Calzaretta and Youth Chorus Master Julia Meyering joined forces to produce a superb, well-rounded sound and sparkling tones to add depth to the main cast’s work.

After notable debuts at several of the world’s greatest houses, conductor Leonardo Sini also appeared on the SO podium for the first time. The young Italian-born maestro proved himself capable of a remarkable variety of gestures appropriate for the gamut of emotions that Puccini portrayed in the work: whether subtle and understated or bold and forthright, his zeal for his compatriot’s score was evident, both to the orchestra and to the audience. The sound he drew from the orchestra had a beautiful sheen and was a pleasure to listen to. The French horns were absolute perfection in the Act 3 introduction.

Sini’s performance was in keeping with the Italian themes brought to life in the 1950s-designed sets from Ercole Sormani’s Milanese scenery shop. First opened in 1838, the studio was at the forefront of representational scenic painting in the era of Verdi and Puccini. The Tosca sets, consisting of a series of painted backdrops which the company has owned since the 1960s, give a vivid, utterly realistic trompe l’oeil perspective on the Eternal City, both exterior and interior: an ornate cathedral; a menacingly lavish Palazzo Farnese apartment reeking of power; a starlit sky and dawn breaking behind a prison. It was refreshing to see such a true-to-life rendering; the ideal atmosphere for a splendid period story set to timeless music.

Connie Yun’s exquisite lighting meshed perfectly with the sets. Sunrise in front of the Castel Sant’Angelo had a particularly vibrant glow, and the cathedral looked glorious.

With his costumes, Andrew Marlay brought back his 2015 creations, depicting early 19th century Roman style with lush, colorful fabrics and great attention to detail: classic yet fresh-looking, a welcome look back to the times of bonnets and carriages.

Bringing all of the above to the stage was director Brenna Corner, who exploited the extreme violence of the story. The dramatic gestures and facial expressions of the performers heightened the spectacle and kept the audience riveted. There were any number of appealing details, particularly pertaining to Scarpia. When he made his first entrance and brutally collared the young acolyte, he didn’t even have to sing a note to show his monstrous character. His intense final gasps were as horrible as his evil personality. The corpses being dragged offstage in the prison scene were less effective, however.

Gustav Mahler might have criticized Puccini’s work as “a masterful piece of trash,” but 100-plus years later, Tosca reigns supreme among operatic oeuvres. Ending the season with a memorable production of one of opera’s most tour de forcemasterpieces is sure to motivate audiences to return for Seattle Opera’s next season.

Tosca runs through May 17. Tickets and information for remaining performances can be found at https://www.seattleopera.org/tosca.

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