Interludes

THE HANGOVER REPORT – A smoldering cast led by Sondra Radvanovsky and Bryn Terfel elevate the Met’s production of TOSCA

• By drediman
• January 24, 2025
• No Comments

Last night at the Metropolitan Opera, I attended the company’s final performance of the season of Puccini’s Tosca. To say it was one of the most smoldering and exciting evenings of opera of the Met season thus far wouldn’t be an understatement, and I think much of sold out audience would agree. On paper, the performance of this ever popular opera about jealousy, love, power, and lust was headlined by pretty much a dream cast, with Sondra Radvanovksy starring as the passionate Floria Tosca and bass-baritone Bryn Terfel as evil incarnate Scarpia. In short, they did not disappoint.

Radvanovsky lives up to the hype as perhaps today’s leading interpreter of the tempestuous title role. The American soprano’s voice has matured over the years, having bloomed from a distinctively steely weapon to a more rounded, full-toned instrument. Despite its softer quality, her voice still very much has the power to pierce through Puccini’s thick orchestrations and soar out into the Met’s massive auditorium. Her confident, highly detailed dramatic performance and considerable musical talent achieved sublime symbiosis in her her anguished rendition of “Vissi d’arte”, which rightfully received the biggest ovation of the evening. Terfel’s appearance in Tosca this winter has been long overdue, given that he has had to cancel a number of his previous engagements due to untimely medical issues. It’s also a bittersweet occasion, given that these performances marked the beloved British star’s retirement of Scarpia from his repertoire of roles. Suffice to say, he felt every moment and emotion on Thursday night. His terrifyingly venomous performance left nothing on the stage, even if at times his sultry growl of a voice occasionally failed to generate the effortless power it once had. Completing the principal cast was reliable tenor Brian Jagde, whose sturdy, well-balanced singing and ardent acting as Tosca’s revolutionary lover Cavaradossi beautifully fit into the mix.

In the pit, maestro Xian Zhang brought clarity to one of opera’s most recognizable scores, giving coherence and forward momentum to its temperamental combination of brooding themes and romantic outbursts. Sir David McVicar’s well-received Goya-esque production continues to be an ideal blend of traditionalism and tasteful expressionism, providing just enough visual cues to suggest the off-kilter world in which the drama unfolds. Overall, last night’s performance was a ine to cherish. Now this is why I go to the opera.

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TOSCA
Opera
The Metropolitan Opera
3 hours, 5 minutes (with two intermissions)
Closed