Puccini’s Tosca
NYCO Renaissance
Rose Theater
January 24, 2016
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| Tosca pulls out all the stops. Photo credit: Sarah Shatz |
NYCO Renaissance’s recent production of Puccini’s Tosca was
a revival, a renewal and a rebirth in many senses. It was a return for the
company on a number of symbolic levels; a return of the opera that the company
debuted with back in 1944. It was also the return of the most classic
production of this opera. NYCO Renaissance obtained from Casa Ricordi the
exclusive North American rights to re-create Adolf Hohenstein’s set and costume
designs, the very same ones of the original debut performance of Tosca
in its 1900 Rome premiere in Rome. All of which makes this the perfect
opportunity to reflect on the value of a truly traditional production for all
the purists out there.
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| Do not go gentle into the dying of the light. Photo credit: NYTimes |
Expectations were low after all of the lukewarm if not downright
negative press I had read about it. But I mean really. What’s wrong with people?
The January 24 show was great. Maybe it was just our cast or maybe at the end
of the run things finally started to click. Because it was there. On the last
night of the run, they pulled out all the stops.
NYCO Renaissance’s was a solid Tosca. The scenes were mostly
comprised of beautifully painted backdrops oozing art deco charm. Costumes were
traditional but together. The Te Deum in Act I was done right and truer
to libretto than the way the current production at the Met stages it. And the
Act III sets here actually resembled the actual Castel Sant’Angelo in Rome even
if they placed it in the wrong side of the river. At least they gave us the
Roman skyline. At the Met they don’t even give us a peekaboo view of St. Peter’s.
There is something to be said for the classic approach no matter how meager the
means. On the whole, it was a a very satisfying Tosca I really enjoyed.
Sometimes one does not need to reinvent the wheel but just get the key stuff
right, and a nostalgic wink to an opera’s first production is just a wonderful
homage.
The NYCO Renaissance orchestra under the baton of maestro Pacien
Mazzagatti did justice to the sweeping Puccini score. Both Scarpia and
Cavaradossi were Italian and oh what a difference it makes when native speakers
sing in their native language. The whole thing has a more fluid and refreshing
vibe. Baritone Carlo Guelfi was an excellent Scarpia. He had a bitter
snarly edge to his singing that was perfect for the character. Cavaradossi’s E
lucevan le stelle (by solid tenor Raffaele Abete) left me singing
this little ear candy ditty for the next several days.
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| Tosca surveys the damage. Photo credit: Sarah Shatz |
Latonia Moore’s Tosca all in all
was excellent too. She absolutely owned her big sequence with Scarpia in Act
II. She has a tender force. Her sound encompasses both the vulnerability of a
victim and the don’t-mess-with-me resolve of a fighter and a hero. Her Vissi
d’arte was wonderfully moving it took me by surprise. She managed to make
me look at this classic aria with fresh eyes. Even if she could use a few more
Italian language articulation sessions with the great Lucy Tucker Yates, hers
was a refreshing and solid soprano who delivered on the big emotional numbers
required by her role.
The Rose Theater venue in the Time Warner Center has potential.
The views at intermission are to die for. It’s all quintessential New York City
with sweeping Central Park framed by buildings and on this particular night
there was even a golden full moon hung low in the sky just over the rooftops.
However, some of the logistics can and should be improved. Patrons should be able
to print their own tickets – which wasn’t an option when we purchased – and in
any event no one should have to line up for over 20 minutes for Will Call
before the show. That’s hardly a civilized way to start an evening at the
opera.
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| With nothing left, the leading lady bids farewell. Photo credit: Sarah Shatz |
But to get back to the basics, let’s be honest. Opera is what we’re
here for. The music is what really matters. And tonight the three principal
singers sounded great. They brought all the big emotions. Tosca’s Visse d’arte
captivated me. Cavaradossi’s E lucevan le stelle moved me to tears.
Tosca’s big third act exit took my breath away. The production was classic but
polished. And while I have never particularly cared for Tosca, I had a
ball revisiting it. After all the critical trash talking in the press, on this
final night of the run it seems clear: an opera for the critics it might not
be, but, remaining true to its roots, the NYCO Renaissance might be an opera
for the people after all!
Considering NYCO's past, we’re eager to see what their next steps
will be.
– Lui & Lei
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| The revival of a classic: Purists eat your heart out! Image credit: NYCO Renaissance |
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| Sets by Adolf Hohenstein. Image credit: NYCO Renaissance |
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| Scarpia's salon. Image credit: NYCO Renaissance |
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