Saturday night saw the opening of San Diego Opera’s production of Giacomo Puccini’s “”Tosca,”” a much-loved 19th century tour de force. “”Tosca”” is a dramatic tale of lustful envy, political maneuvering and devotion to love — in other words, fully relevant to a modern audience — and San Diego Opera’s production faithfully captures the spirit of its fanfare and spectacle.
Rome in the time of the Napoleonic wars is a dangerous place, with allegiances divided between the monarchy and Napoleon’s ever-advancing armies. Puccini’s oeuvre flings Floria Tosca, a diva of song and stage whose tempestuous countenance could put Mariah Carey to shame on some days, into the midst of the turmoil. She is involved with a notable painter, Mario Cavaradossi, who comes under the suspicion of the Roman police chief Baron Scarpia for hiding an escaped political prisoner, Angelotti, a high-ranking official in the defunct Roman Republic.
Scarpia’s motives are not purely political, however; he harbors a lascivious lust for Tosca and a murderous hatred for Cavaradossi. When Cavaradossi is taken into custody, Tosca becomes entangled in the political fray of her day and discovers that love — whether one is its promoter or its object — can carry her to a drastic culmination of circumstances.
One of the most appealing features of “”Tosca”” productions is always the scenery. San Diego Opera’s production does not disappoint in this arena, and watching the two-hour performance is a treat for the eyes as much as it is for the ears. The action begins in a chapel of the church of Sant’Andrea della Valle, sumptuously appointed in marble and gold, shadows and light. It comes to its heady climax atop the penitentiary of Castel Sant’Angelo, with an enormous stone angel looming over the action under a star-bedecked sky. The characters interact enough with their scenery to make it come alive — a matter of particular importance during Act II, when Tosca finds herself cornered in Scarpia’s quarters and must take creative liberties to defend herself from him.
Russian soprano Galina Gorchakova’s Tosca is a delight to imbibe; her voice is rich and expressive, conveying the diverse shades of development as Tosca moves from capricious diva to heroine. Audiences have a love-hate relationship with Scarpia, who is sung heartily by Kimm Julian in this production: Sometimes his wickedness appears so perfect that it’s difficult not to like him in spite of his malevolence.
Richard Leech’s heroic Cavaradossi, by contrast, is fully amicable. His soaring performance surely did proud the past performers in the role. You may even have heard of one of them, a young gun who sung the role for San Diego Opera in 1967 — his name is Placido Domingo, and he currently occupies a spot in a tripartite group of rather famous tenors.
Puccini’s libretto drags a bit at times, with characters dwelling on moments for prolonged periods, or exchanges lasting long enough to feel a bit uncomfortable and forced. However, San Diego Opera’s ensemble carries the production beautifully. Though it may test the patience of those used to watching 22-minute sitcoms, this opera will not cease to captivate San Diegans as it has done for thousands of people for 102 years.
“”Tosca”” will run on April 5, 7 and 10, with a matinee performance on April 7. For more detailed information on tickets and other San Diego Opera productions, visit http://www.sdopera.org.