Opera Review: Tosca

by Mark-Brian Sonna of MBS Productions

Opera is one of the hardest art forms to pull off since it requires a confluence of vocal talent, orchestral talent, composer talent, acting talent, and design talent. When done correctly it is an art form unlike anything else. A “Grand Opera” means it is all done a giant scale: The talent must be dazzling, the sets, costumes and wigs must be extraordinary, the orchestra must perform at a symphonic level, and the story must be epic. Opera is hard to do, a “Grand Opera” even harder. Dallas Opera’s production of Tosca currently playing at the Fair Park Music Hall perfectly exemplifies the meaning of the term “Grand Opera.” It is productions like this that prove that Dallas has a world class opera company.

Tosca is in the pantheon of Operas. The music is familiar even to those who have never set foot into a theatre, let a lone an opera. Snippets of the Puccini score can be heard in everything from car commercials, to cartoons, to elevators. I can’t ever go into Eatzi’s without hearing one of the arias sung over their loudspeakers. The story line of two lovers pulled apart by the malevolent desires of a corrupt man is terrifying and tragic. Suffice to say, no one gets out of this opera alive.

The lover’s triangle are Tosca played Catherine Nagelstad, her artist lover Cavaradossi played by Massimo Giordano and the evil chief of police Baron Scarpia played by Wolfgang Brendel. These three characters carry the bulk of the show. All three are magnificent, world class performers with voices that deservedly have been applauded around the globe. Vocally, this opera is a stunning achievement.

Wolfgang Brendel had frightening presence on the stage. He could deliver each note with such an ominous feel that I found myself squirming in fright. He was monstrous in his obsessive love for Tosca. He never overplayed the character. He truly was obsessed in his love with Tosca, and nothing was going to stop him from having his way with her. I knew in the story he would never get around to raping her, but I truly felt like it was about to happen on that stage. He kept me and the audience on edge.

Catherine Nagelstad gets to play what is one of the most famous roles for women ever written. Tosca is a highly complex character full of passion and bravado, yet she must show an insecurity and delicacy behind the bluster. Later in the opera Tosca, in her frightening confrontation with Baron Scarpia, is pushed to the brink, snaps and is required to stab the Baron to death. She doesn’t just stab him in self defense; there is viciousness and maliciousness to her act which then condemns her. Not an easy thing to portray. Ms. Naglestad absolutely understood the character. Even though the staging showed us what she was about to commit murder – her back is to the audience and we all see the knife in her hand - her stabbing was so violent it still shocked and made the audience gasp, myself included. We feared for her and we simultaneously became afraid of her, for she had lost touch with reality and had descended into insanity. Even though we now feared her, we still cared for her. This is something difficult to portray and requires a high level of acting ability. Combine this with the fact that Ms. Nagelstad has a set of pipes that gives chills, makes her by far one of the best opera performers I’ve ever had the privilege to see.

Massimo Giordano made me cry. The orchestra with it’s stupendous playing had nearly brought me to the edge of tears at the beginning of Act 3. When Mr. Giordano, condemned to death began to sing about his love and passion for Tosca, his voice, which had been sublime, acquired the canto doloroso that many tenors try to achieve but never can quite master. He could make his voice sound as if he were crying. Pavarotti, Carreras, Domingo, are able to do this, and to hear it done live with Mr. Giordano was not just a sensory experience but an emotional one as well. The house was nearly sold out, and over 2000 people began to cry. The Opera paused for an extended ovation when he was done.

There are various other smaller roles some played by local talent. Not a weak link in this entire cast.

The orchestra was conducted with much passion by Anthony Barrese. I can honestly say I’ve never heard the orchestra play better. He brought out performances from the orchestra I’ve never heard before. I must single out Susan Demetris, her violin playing was intoxicatingly beautiful and sensitive. The passion from the pit was matching what was on the stage.

Giulio Chazzaletes directed this production brilliantly. I’ve complained in my last few reviews about the direction of most of the operas this season. This director understood both the complexities and subtleties of blocking: how to create visual metaphors along with arresting and aesthetic compositions. He was able to extract delicate and nuanced performances out of everyone on stage, including the children’s chorus.

The costuming, the sets, the lighting, the wigs, etc. were all home grown, meaning this was a production that relied mainly on materials and designs that were done locally. Stunning!

I’ve always held a special place in my heart for the Puccini’s Opera Madame Butterfly. It was one of the first operas I ever saw, and I’ve always favored it. After seeing this version of Tosca, I think I’ve now replaced it.

I urge you to go see Tosca. Do take some tissues with you. You’ll need them. I literally cried the entire 3rd act. I’ve never cried so much watching a show. Truly moving. Truly memorable. Truly magnificent.

Purchase tickets online or by calling 214-443-1000.