Opening night Tosca sizzles

Opening night Tosca sizzles

by Rod Parke - SGN A&E Writer Tosca Seattle Opera Seattle Opera has staged many a competent Tosca, but the opening performance last Saturday was the first one I've seen that was really hot. In fact, the difference between competent and hot is perfectly exemplified by the two casts in the current production. Three important singers determine the success or failure of this Puccini opera. All must have strong voices - what the Italians call "spinto." A light, lyric soprano can sing all the notes and can perhaps, like Sunday's Michele Capalbo, project big top notes to cut through Puccini's brilliant but heavy orchestration. But much of the rest of her singing failed to make it past the pit. When it did, it lacked the power to convey the intensity of Tosca's emotions. Lisa Daltirus (dahl-tee-roos), however, had everything one hopes for in a great Tosca. Her voice was big and powerful as well as beautiful. Because her technique was solid and invisible, she was able to throw her operatic temperament into the role with an abandon that was gripping. While her physical acting was certainly adequate, the drama within her voice was especially intense and convincing. Lisa Daltirus is a major discovery, ranking with when Seattle presented the very young René Fleming, Ben Heppner and Jane Eaglen. Her Tosca was as exciting in my experience as those of Milanov and Callas. Canadian Michele Capalbo is a fine lyric soprano. She is pretty, petite, and moves well on the stage. She is not, however, a Tosca. She has in fact been singing other heavy roles with no apparent damage to her voice. She respects the limitations of her vocal size in that she never forces the voice, and her tops are of "spinto" quality. But Tosca demands a singer who can appear to throw caution to the winds and whose lower and middle ranges can convey passion. Michele Capalbo could be great in lighter roles whereas she is barely adequate as Tosca. Of almost equal importance to Tosca are the roles of Mario Cavaradossi (tenor) and Baron Scarpia (baritone). Saturday's tenor, Frank Porretta, showed us a powerful and utterly gorgeous voice, with thrilling tops (which he held beyond good taste!). While he impressed with amazing breath control and a seamless vocal line, his one significant flaw was a tendency to prepare for high notes with a sudden leap into a posture that was almost comical: feet apart, knees bent, looking as though he were preparing for an intestinal event. One can only hope that this athletic approach to singing doesn't lead to vocal strain and decline. (I can't comment on Sunday's tenor, Brandon Jovanovich, for he was suffering from an upper respiratory infection and had to retire after Act One. He is extremely handsome and possesses a beautiful voice.) Greer Grimsley has grown even more effective as the sinister Scarpia since his last appearance in that role at Seattle Opera. In fact, his entrance in a fabulous costume (by Andrew Marlay) made a major impact even before he opened his mouth! Almost too attractive and sexy for a Tosca to want to reject, Grimsley proceeded to dominate every scene with his equally powerful acting and voice. Sunday's Scarpia, Gary Simpson, did well but seemed pale in comparison. The battle between Daltirus as Tosca and Grimsley was white hot, creating an Act Two to rival the great Callas/Gobbi video. Canadian Peter Strummer was impressive as the Sacristan both for his powerful voice and his comic ease. One could tell that director Chris Alexander and Strummer were kindred spirits, such that every gesture of the Sacristan was effective. Bass-baritone Jason Grant was a fine Angelotti, and the always reliable Steven Cole made points as the tool of Scarpia. Seattle Opera made an unusual choice for the voice of the shepherd boy: that of male soprano David Korn. Korn's voice is lovely and, unlike most male counter-tenors, is a true soprano. Therein lay the problem with this casting, in that the usually cast boy soprano would have sounded more like a shepherd boy, rather than like a woman singing the part. Puccini wrote brilliantly for the orchestra, and nobody could have got more out of that score than conductor Vjekoslav Sutej. The opening chords rang out with such authority that one knew instantly that we were in good hands. The grand tutti's of the great Te Deum that closes Act One were superbly managed. The ever-great Seattle Opera Chorus and Grimsley's huge voice added even more power to the glorious sounds coming from the pit. Reviewer Rod Parke can be reached at rod@sgn.org.