State Opera Of SA. Adelaide Festival Theatre. 12 Nov 2016

 

“My dream of love has vanished forever,

the moment has fled, and I die in despair,

and I die in despair

and I have never loved life so much, so much!”

…sings Mario Cavaradossi as he awaits his impending execution by firing squad. These verses capture the essential heart of Puccini’s much loved opera Tosca, in which devoted love is sorely tested but ultimately wins through, although with tragic consequences.

 

They are the final verses of E lucevan le stele (And The Stars Shone) which is of the most heartbreakingly beautiful arias in Puccini’s Tosca and in the entire canon of tenor arias. Rosario La Spina sang it with his hallmark passion, understanding and emotion, and he amply demonstrated why he is one of Australia’s leading tenors; always embraced by an admiring public when he graces the stage of the State Opera of SA. His Recondita armonia (Concealed Harmony) in Act 1 filled the vast stage.

 

Kate Ladner, in the eponymous role of Tosca, was also excellent and her performance alongside La Spina in Act 1 was a highlight of the production. She was coquettish and portrayed the playfully jealous lover with uncommon style. Their duet was evocative, and her Vissi d'arte, vissi d'amore (I Lived For Art, I Lived For Love) in Act 2 demonstrated her ‘goldilocks’ vibrato soprano voice (not too tight, not too relaxed, just right), and her ability to project and sing in full voice while in recumbent positions was impressive.

 

Baron Scarpia, the man who put himself between Tosca and Cavaradossi, was played by baritone Mario Bellanova with sufficient, but perhaps not enough, dark menace. Smaller in stature than Ladner in particular, director Cath Dadd needed to find a mechanism to accentuate Scarpia’s control and cruelty, especially in arias such as Ha piu forte sapore (For Myself The Violent Conquest) in which he comments about the pleasure of conquest and how it surpasses the ecstasy of romance, showing himself to be the embodiment of evil.

 

Rounding out the cast in the smaller roles were Bernard Hull (Spoletta), Pelham Andrews (Sciarrone), and Robert England (The Gaoler). Jeremy Tatchell made an important contribution in the role of Angelotti, and John Bolton Wood was an enjoyable scene stealer as the Sacristan.

 

Ashley Martin-Davies’ scenery and costumes were impressive. Each of the three acts were staged on imposing sets, and the enormous statue of Saint Michael holding his sword dominated Act 3 and evoked Castel Sant Angelo. The cavernous nature of the settings for Acts 1 and 2 perhaps made it more difficult to create scenes of intimacy and menace respectively, although Nigel Levings’ sensitive lighting greatly assisted.

 

The chorus does not have a lot to do in Tosca, but the State Opera Chorus, under the tight direction of Timothy Sexton, were spectacular when called upon, and Angus Brill Reed sang a beautiful off-stage shepherd’s song.

 

Under maestro Nicholas Brathwaite’s baton, the Adelaide Symphony Orchestra were outstanding throughout, and the brass and horns were especially fine. Special mention must be made of the off-stage use of the mighty Silver Jubilee Organ at the hands of the talented Andrew Georg.

 

It was a great pleasure to speak to several members of the very large audience during the intervals who confessed they were opera ‘newbies’ and were loving the experience. Opera can be for everyone. It is not elitist. It is perhaps the greatest art form, and this production of Tosca by State Opera SA deserves your attention, but there are only three more performances left. Get in quick. It is just ….terrific!

 

Kym Clayton

 

When: 12 to 19 Nov

Where: Festival Theatre

Bookings: bass.net.au