REVIEW: Nashville Opera's Season-Opening 'Tosca'

Soprano Erika Sunnegardh gives a stunning performance in the title role as Puccini's tragic Tosca in the season-opening production of Nashville Opera, onstage this weekend at the Tennessee Performing Arts Center's Andrew Jackson Hall. Beautifully sung and artfully acted, Sunnegardh's Tosca has all the fiery passion one expects of an operatic heroine, but there is something more in Sunnegardh's exquisite portrayal; call it heart, call it soul-whatever it is, it's stirring and moving and it heralds the start of what is expected to be yet another triumphant Nashville Opera season.

From the first strains of the music, so beautifully played by members of the Nashville Symphony, under the baton of conductor Steven White (himself the artistic director of Opera Roanoke and a frequent collaborator with Nashville Opera artists) to the final, dramatic scene in which Tosca falls to her death after the execution of her lover, Tosca is a feast for both the eyes and ears. Creatively designed, utilizing the scenery from the Virginia Opera mounting of the work--designed by Tony Award-winner Michael Yeargan (The Light in the Piazza, South Pacific, Joe Turner's Come and Gone)--and sumptuous costuming from Baltimore's AT Jones & Sons, it has all the impressive trappings of grand opera. Yet John Hoomes' thoughtful direction results in something that is far more relatable-and certainly more accessible-than one might imagine.

While fiercely loyal to its operatic legacy, this Tosca has a look and feel to it that renders it more contemporary in tone, thus inviting modern-day audiences to surrender themselves to the glorious music, the involving story and the richly expressive characters created more than a century ago. That doesn't mean it's avante garde or fantastical; rather, it's believable. Certainly, it's a larger than life spectacle, but given Hoomes' solid direction and the exemplary performances of his principals (and the always excellent Nashville Opera Ensemble), the opera has an immediacy that makes it all the more involving.

Sunnegardh's voice is astoundingly clear and rich, from her lower tones to her brightest high notes. But perhaps most astonishing is her range as an actress, as she portrays singer Floria Tosca's transformation from a jealous, petulant and girlish flirt to the contemptuous, vengeful woman who stabs her tormenter to death. Sunnegardh's exquisitely sung second act aria "Vissi d'arte" is expertly conveyed and so emotionally draining (both for Tosca and her audience) that you cannot help but be shaken by the sheer power exuded by her voice and the impeccably expressed drama of the moment. Compared with her earlier, more joyous moments (hearing her sing "Mario, Mario, Mario" from offstage as she approaches the stage for her first appearance only heightens your anticipation), it displays Sunnegardh's terrific range.

As the evil Baron Scarpia, Luis Ledesma provides a perfect counterpoint to Sunnegardh, his rich baritone perfectly capturing Puccini's dramatic nuances. His performance is demanding and frightening, yet underscored by a sexual current that adds heat and passion to their scenes together.

Tenor William Joyner, cast as Tosca's lover Cavaradossi, gives a full-throated performance and his first act aria "Recondita armonia" is both playful and boastful, yet endearingly romantic. His Act Three performance, particularly his remembrance of his love for the impetuous Tosca, is achingly real as he faces his almost certain death in front of a firing squad.

Bass Matthew Trevino is well-cast as the escaped prisoner Angelotti who precipitates the tragedy that befalls Tosca and Cavaradossi, while Stefan Szkafarowsky (singing two roles as the oafish Sacristan and the villainous Sciarrone) gives a satisfying performance. Tenor Tracy Wise, as Spoletta, somehow manages to be both menacing and cowering as Scarpia's henchman, which results in a memorable performance.

Young Tate Williams, as a shepherd boy whose job it is to mop up the blood after the executions, is delightful in his Act Three performance and clearly he is an audience favorite. His mother, Amy Tate Williams, is the chorusmaster of the Nashville Opera Ensemble (several of its members are perhaps best known for their own roles on Nashville theatre stages), which is featured to great effect in "Te Deum," which so rapturously closes Act One.

 

--Tosca. By Giacomo Puccini, text by Giacosa and Illica, after a play by Sardou. First Performed at the Teatro Constanzi, Rome, January 14, 1900. Directed by John Hoomes. Conducted by Steven White. Presented by Nashville Opera at Andrew Jackson Hall at the Tennessee Performing Arts Center, Nashville. October 8 and 10. For tickets, call (615) 832-5242, or visit the company website at www.nashvilleopera.org.

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