Puccini’s Tosca
LoftOpera
Bushwick, Brooklyn
March 10, 2015
Cannot miss O P E R A in Bushwick Photo credit: Allegri con Fuoco |
In usual LoftOpera fashion, we got off a subway stop
in deep Brooklyn and walked our way through a far west of abandoned warehouses,
decrepit storefronts and shady dealings in parked cars. We knew we were close
when we saw yellow cabs (definitely Manhattanites) dropping off patrons in
front of an unassuming and unmarked entrance. There were groups of people
gathering around and buzzing... about a five letter sign that read “O P E R A”
in bright lights, under a clutter of graffiti. We were definitely there.
Charming and bubbly LoftOpera General Manager Brianna Maury welcomed
every single patron at the door with a smile, a one-page program and a paper
clip – to trade for a free drink at the bar.
Castel Sant'Angelo Photo credit: Allegri con Fuoco |
The space was a huge white-walled raw loft, a converted
former Chinatown bus workshop. A scaffolding structure holding a huge winged
statue (Castel Sant’Angelo anyone?) lead the way to the rectangular “stage,”
framed by two corner walls and facing rows of benches on the other two sides.
We got there 30 minutes before start time and it was almost impossible to find
a seat, as the over 100 mostly under-30 crowd had already firmly settled in,
swilling their beers and chatting idly. Not to worry, though, one can always
plop down on the floor, front row, where all the juicy action is anyway – you
may even get hit by a squirt of Scarpia’s blood.
There was an electric party vibe and a sense of anticipation
in the air. And then, the lights dimmed, silence fell and the 33-member roaring
orchestra lead by Dean Buck erupted into the sweeping, action-packed
overture of Puccini’s Tosca. LoftOpera may be unassuming and relaxed but
their craft is dead serious and top quality. The Tosca cast had
impeccable Italian and was strong across the board, both vocally and
acting-wise; the direction was contemporary yet faithful to the story and the
libretto.
Tenor Dane Suarez as Cavaradossi displayed a
handsome, full voice. His is a warm and robust tenore spinto. Suarez’s Recondita
armonia in Act I was beautiful, soaring, and moving. He brought down the
house (and moved me to tears) with E lucevan le stelle in Act III,
rendering the magic of the pure earth-shaking lyricism of a man deeply in love
about to die. Soprano Carolina Castells was the heroine of the dark
drama. Her interpretation of Tosca was intensely fierce. The Santuzza-like fits
of jealousy she threw amidst the love duets that punctuate Act I were charming,
but she really knocked it out of the park in Act II. Fearlessly stripping down
to her skivvies, she offers herself to the corrupt Scarpia only to then deliver
a most gut-wrenching Vissi d’arte (as she convincingly stabs the villain
with his own steak knife). Her soprano is earthy and powerful and her acting
talents superb. Baritone Kevin Wetzel as the villain Scarpia was
appropriately snarly, rendering his character with a threatening viscerality
that I think it’s still haunting some of the public in the first rows.
Bass Joseph Beutel delivered the fugitive Angelotti
with a deep sense of urgency that left me wanting to hear more from him, though
he exits the scene early in the action. Baritone Stefanos Koroneos was a
convincing Sacristan, displaying the right comic touch without mugging or
overdoing it. Tenor Jordan Pitts as Scarpia’s sidekick Spoletta had
charismatic stage presence and a handsome confident voice. Finally, the
14-member chorus did an amazing job with the Te Deum at the end of Act
I, and Eric Schuett was an enchanting shepherd. While playing with
toy soldiers in the opening of Act III, the boy soprano delivered the lyrical lullaby Io de’
sospiri with an ethereal otherworldliness.
The sets were simple, really two white walls, and a handful
of props: a Mary Magdalene mural and lots of votive candles for Act I, a long
sleek white dining table in Act II (doubling as the platform for the attempted
rape and subsequent murder), a vintage school desk in Act III. Overall, Raymond
Zilberberg’s direction took us to a place somewhere between the neorealism
of Rossellini (Tosca reminded me of Anna Magnani in Roma Città Aperta,
particularly in the finale) and Tarantino’s splatter-noir (replete with
blood, guns and gangsters).
Cavaradossi right before the torture Photo credit: Allegri con Fuoco |
There were nice touches, some more intentional than others.
Cavaradosssi swiped through Floria Tosca’s pictures on his iPhone while singing
Recondita armonia, a real water faucet was used by both Angelotti and
Tosca to wash out blood from their hands. And last but not least, the rumble of
trucks or motorcycles passing outside the venue during Act III did not bother,
rather, it heightened the intensity of the last scenes of the opera in a way
that I can only describe as cinematic.
A Tosca with a touch of neo-realism Photo credit: Allegri con Fuoco |
LoftOpera treated Tosca as if it was the hottest
new thing on the indie scene, never performed before, or, at least, never in
front of an audience like this. In fact, the show’s program, instead of the
usual detailed account of the whole plot, presents just a broad summary of the
setting and the action, without any spoilers. It actually worked: the public
may not have known or cared about the nuances of the arias but the sense of
discovery was palpable, as they followed the action of the plot like their life
depended on it. They giggled at Tosca’s jealous fits, cheered enthusiastically
when she sunk her knife into evil Scarpia’s chest, gasped at the tragic
finale. And this is what opera is all about. The most emotionally gripping,
gut-stirring story-telling through music. LoftOpera gets over a hundred people
to a raw warehouse space in the middle of Bushwick and they all sit in rapt
religious silence through a three act Puccini opera (well, there’s the
occasional beer bottle tipping but that’s part of the local soundscape). Their
events are cool, sexy and unassuming to the extreme. Opera is old and stuffy?
Throw some free beers at it, let people sit on the floor and have the gorgeous
music do the rest. All you need are a few walls, great performers and smart
direction.
As we walked out singing raucously Cavaradossi’s climactic
aria, E lucevan le stelle (dolci baci e languide carezeeeee…. Muoio
disperatoooooo…..non ho amato mai tanto la vitaaaaaa!!!!), behind us other
happy patrons were also humming bits and pieces of the Puccini score and
talking enthusiastically about the show. Because, yes, opera is grand,
emotionally infectious and timeless. In the right setting, today’s generations
still get it, love it and will come back for more. Next up in LoftOpera’s 2016
season are Rossini’s Le Comte Ory (June), Mozart’s Così fan tutte
(September) and Kurt Weill’s Mahagonny (December). There’s a lot to look
forward to!
- Lei & Lui
Logo design: Doug Smith at Penmanships |
Orchestra led by Dean Buck Photo credit: Allegri con Fuoco |
Scarpia's dining table Photo credit: Allegri con Fuoco |
It was a truly amazing production! As an FYI, the Shepherd Boy was played by Erich Schuett - www.erichschuett.com
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