* Notes *
The new production of Tosca (Act II with Scott Hendricks as Scarpia, Joel Sorensen as Spoletta, and Carmen Giannattasio as Tosca pictured left; photograph by Cory Weaver) that opened last night at San Francisco Opera is an ideal first opera. The set looks like a meticulous reproduction of the places featured within Rome and the singing is strong. The young cast looks very convincing.
I don't think I've ever seen a Tosca that didn't try to recreate Sant'Andrea della Valle, Palazzo Farnese, and Castel Sant'Angelo, since they are such specific locales. This offering, designed by Robert Innes Hopkins, is no exception, but it was impressive how real everything looked. The costumes also look very genuine, there are no gratuitous wardrobe changes, Tosca doesn't even put on a coat to fetch Cavaradossi before their would-be escape. Shawna Lucey's direction is straightforward and effective. Act II was especially disturbing, Scarpia's sexual violence against Tosca is all the more palpable in light of current events and I winced from those scenes, even at the back of the balcony.
The cast is uniformly fine both vocally and dramatically. I was able to spot Hadleigh Adams (Angelotti), Dale Travis (a sacristan) and Joel Sorensen (Spoletta) right away, even without looking at the program, so often have I heard these singers from the War Memorial stage. Tenor Brian Jadge has also performed Cavaradossi here many times, and did well. His voice is as loud as ever, and his arias sounded great. His fall in Act III looked alarmingly authentic.
Soprano Carmen Giannattasio has a lovely vulnerablity as Tosca, her "Vissi d'arte" alone is worth the price of admission and she sang prostrate on the stage, but this did not seem to have any influence on the volume of her voice at all. She did sound shrill at times at first, but that suits the jealous questioning and nagging of her part in Act I. Scott Hendricks completely embodied Scarpia, he was slick and repulsive, his voice sounded suitably powerful.
Maestro Leo Hussain conducted the orchestra with vigor that bordered on chaos in Act I, but improved over time. There was a gorgeous solo from the harp and the brass played out with clarity.
* Tattling *
The audience was sparse, and the latecomers in the last row north of center were terribly ill-behaved and talked so much that I had to move to the other side of the balcony to get away from them. Because there were not many people back there, they were even audible from that distance.
I don't know if it is because I have two little kids of my own, but children's voices in opera often creep me out now. Zachary Zele as the shepherd boy made me completely uncomfortable.