Jordan Wright
May 12, 2019
The role of Tosca, known as “the infamous soprano killer” for its powerhouse arias, was duly tamed by Latonia Moore who made her spectacular Washington National Opera debut last Saturday. Moore, who has played the title role of Aida at the Metropolitan Opera, the Royal Opera House in London and Buenos Aires’ Teatro Colón, as well as the title role in Madame Butterfly at the Metropolitan Opera, was in superb form and well-matched with tenor Robert Watson as Mario Cavaradossi. Watson was also making his WNO debut, though he has already gained wide acclaim elsewhere for his leading roles in Tosca, Carmen, Rusalka, and Les Contes d’Hoffmann.
Riccardo Massi as Cavaradossi and Michael Hewitt as Angelotti (L) in WNO’s ‘Tosca.’ Photo by Scott Suchman
A bit of history about the opera sharpens our listening as we absorb the music, contextualize the story, and grok the composer and history behind the score. Admittedly, my experience is gained not through decades of study as a musicologist, nor from hours of listening to operatic scores (although dutifully bolstered by a childhood spent at NYC’s Met), but by attending the pre-performance lectures provided to ticketholders by the Kennedy Center which I highly recommend.
In his day, Puccini was hugely popular, and, of all his operas, Tosca is the fifth most performed opera in the world, despite the sexual violence, suicide, murder and torture that color the lives of our hero and heroine. (Not entirely different from our present TV crime dramas.) Based on the history of Napoleon’s conquest and ultimate defeat in Rome in 1800, it is considered his most inventive score, and characterized as “cinematic music” for its sweeping structure and big numbers.
Keri Alkema as Tosca and Alan Held as Scarpia in WNO’s ‘Tosca.’ Photo by Scott Suchman.
Consumed by love and jealousy and manipulated by the sadistic machinations of the villainous Baron Scarpia (performed masterfully by baritone Alan Held), Floria Tosca is a deeply sympathetic character – one to whom Puccini afforded great compassion with her octave-defying arias and heart-stopping duets. Based on Victorien Sardou’s five-act play, “La Tosca”, it was first performed in Paris by the great Sarah Bernhardt in the title role. It’s inescapable not to note that the star-crossed lovers are both artists – Mario, a painter, and Tosca, a famed singer.
The sets here are the original painted drops from the 1940’s and are provided by Seattle Opera. They are breathtakingly beautiful and historically accurate as to the actual Roman locations. Act One puts us in the Barberini chapel built between 1590 and 1650, while Act Two plays out in the Palazzo Farenese, currently the French Embassy in Rome. Act Three is set in the Castel Sant’Angelo, the oldest of the three buildings, built in 139AD and where visions of St. Michael were reported. Attention Tour Organizers: It would be fascinating to tour these Roman locales while listening to Puccini’s music on our smart phones.
Keri Alkema as Tosca and Alan Held as Scarpia in WNO’s ‘Tosca.’ Photo by Scott Suchman.
Highly recommended for its soaring score and five-star performances.
With Latonia Moore or Keri Alkema as Floria Tosca, Robert Watson or Ricardo Massi as Mario Cavaradossi, Michael Hewitt as Cesare Angelotti, Wei Wu as the Sacristan, David Cangelosi as Spoletta, Samson McCrary as Sciarrone, Holden Browne and/or Aidan Stanton-Brand as Shepherd Boy, and Samuel J. Weiser as Jailer.
With the Washington National Opera Orchestra exceptionally conducted by Speranza Scappucci with the WNO Chorus and the WNO Children’s Chorus.
Directed by Ethan McSweeny with Costume Design by Lena Rivkina, and Lighting Design by Gary Marder. In Italian with projected surtitles in English.
May 11th, 12th matinee, 14th, 17th, 19th matinee, 20th, 22nd, and 25th in the Opera House at The John F. Kennedy Center for the Performing Arts, 2700 F St., NW, Washington, DC. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.