Stellar tosca delivers powerful love triangle for opera vermont

https://www.rutlandherald.com/features/vermont_arts/stellar-tosca-delivers-powerful-love-triangle-for-opera-vermont/article_1225ba40-7a98-5a19-baa1-1abc8da8af8a.html

Puccini’s “Tosca” enjoys one of the most deliciously evil — and beautiful — love triangles of all of grand opera. And it seldom fails to deliver whether at the magnificent Metropolitan Opera or at the intimate Highland Center for the Arts in Greensboro.

That was certainly the case Friday when Opera Vermont, the touring arm of Brandon’s Barn Opera, presented “Tosca” at the Highland Center. A stellar cast, excellent instrumentalists and direction, and minimal but imaginative staging made for a deeply satisfying experience.

Floria Tosca is the grand diva who makes it all happen, and with Sonja Krenek it was clear what all the fuss was is about. With her rich but flexible soprano she delivered Tosca’s arias and temperament in an irresistible performance, enjoying Puccini’s writing without tasteless exaggeration or overacting. Krenek’s “Vissi d’arte (I lived for art),” which continues “vissi d’amore (I lived for love),” was heart-wrenching — and simply gorgeous.

With its Italian libretto by Luigi Illica and Giuseppe Giacosa, “Tosca” is set in 1800 while Napoleon’s army is bearing down on Rome. The painter Mario Cavaradossi is harboring the fugitive rebel Cesare Angelotti, and Baron Scarpia, the chief of police is determined to capture Angelotti — at any price.

That price turns out to be the life of Cavaradossi. Singing the unfortunate hero was tenor Joshua Collier, the quintessential Italianate tenor, brimming with passion and sensuality, who delivered the brilliant high notes as well as heart-wrenching tenderness. Collier is the real thing.

In act two (of three), one of the most evil, sensual and powerful scenes in all of opera, Scarpia offers Cavaradossi’s life for Tosca’s favors. The passionate interaction of the three is at once tragic and irresistible.

Baritone Wayne Hu was commanding as the determined Scarpia, oily and evil with his dark lyrical delivery. Collier and Krenek’s vocal interaction, particularly in acts two and three, was emotionally devastating. This is what grand opera is all about.

In fact, the singing throughout was very fine. Bass Alvarado was Angelotti (and a few other folks); tenor Kartik Ayysola was Scarpia’s lieutenant Spoletta; and baritone Liam Shannon was almost witty as the Sacristan. No surprise, the chorus was written out.

Cailan Marcel Manson, the company’s music director, conducted the opera traditionally but sensitively delivering Puccini’s peerless storytelling. Accompanying were the fine members of the New England Repertory Orchestra in an orchestral reduction that was surprisingly effective — string quartet, oboe, flute, bassoon, percussion and piano (Eric Malson). While they certainly didn’t achieve the lushness of the Puccini’s score, they created the world of “Tosca” in this small house.

Collier, founder and artistic director of Barn Opera/Opera Vermont, was also the stage director. With limited resources, he successfully told the story convincingly building up real tension with only minimal set pieces and projections. There was trouble with the supertitles during the first act, but the problem was corrected for the remainder of the opera. Collier’s novel approach to the ending was perfect!

It is worth noting that there was a sizable number of teens in the audience. Even more notable is that they remained silent and enthralled throughout.

Opera Vermont has found a way to successfully deliver opera around this rural state without losing its musical and dramatic power. And it seems that the audience that wants it is growing quickly.

Editor's note: Minor corrections were made in this story on April 13, 2024.