Neither in weight of voice nor cunning, except that one stage gesture in Act two when he crept around the chair with Tosca on the opposite side. He was oily, insidious, but never a real threat. Scarpia sung by Scott Hendricks too lacked menace. Even her violent turnaround on the guards lacked some of Puccini’s urgency. So, when Mario doesn’t move after the so-called mock-shooting, we wait for Tosca to “get it” rather than the other way around, and hope for the dialogue to end so reality can land. Back and forth, the two let their dreams for future happiness spill over the irony of their dialogue, creating impatience rather than despair over the forthcoming debacle. In fact, the final scene between the two lovers in Act three came across the same way.
TOSCA SAN FRANCISCO OPERA FULL
He was undeniably a petulant painter, would-be revolutionary, stalwart martyr, but with attention more than full feeling. However, there were moments where he seemed more an observer than a major participant in the drama. We felt it. There was substantial intensity as he encircled Tosca in his arms, or when he threw Scarpia’s chair in Act two, or prepared for his “pretend” execution in Act three. His soaring top register rang in each of his great arias, most particularly in “E Lucevan le stelle,” where his strength and power sent that voice to the stars above. Hero & VillainĬaravadossi, sung by tenor Brian Jagde was hero-worthy. We were more moved by this than by the previous ideas in play. Despite all her pleadings up to that moment, she had been putty in his hands, but here, she rose from wrath to power. For moments, when her murderous rage toward Scarpia poured out of her body, face, voice, she gave us more than a glimpse. That said, there was an intricate development that hinted that she find greater depth in the role as she grows more comfortable with it. So too her not kissing Mario in front of the Madonna and making it more silly than poignant. In fact, while nice details in themselves, putting candles by Scarpia’s head, after she murdered him, crossing herself before she leaped off the parapet, didn’t develop as she busied herself a little like a mother hen than an imperious paramour, and as such didn’t contribute to the growth of personal power. The paintbrush “swordplay,” for example, called attention to itself rather than the overall building of passion.
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This, however, stood in contrast to her pouting coquettish behavior in Act one, a hit with many audience members despite actions and expressions that aimed for cute and clever rather than depth.
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In her famous aria in Act two, “Vissi d’arte,” she engaged us with her searching questions about art and life compelling our attention with a flexible and well-colored voice. She played the diva full-on, and took the stage in a range of guises. Italian soprano Carmen Giannattasio, featuring a powerful, round, and full voice, sang Tosca with much rich beauty. This “Tosca” was received with open arms. The performance also features debut-making heroine and debut-making conductor. The new production in San Francisco has set her in motion once again, directed by Shawna Lucey and designed by Robert Innes Hopkins. Every Opera Director has wanted her on its stage every dramatic soprano has wanted to perform her.
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San Francisco Opera has always been in love with Puccini’s “Tosca.”įrom 1932, when the War Memorial Opera House first opened its doors, until today, this opera has been its darling.