The last time I reviewed Giaccomo Puccini’s opera Tosca was a couple of years ago. The Canadian Opera Company (COC) showed it, still in the old venue before the new building was finished. It was a fantastically stylized set, a simple construction across the width of the stage that could be used to illustrate the entire story, without having to fly heavy sets for various acts. I was quite impressed, even though I had seen that kind of set idea before with the COC. Somehow I do not remember being entirely engrossed in the opera, but I did not know why. Only when I came away from the newest production of Tosca from Opera York in March of this year did I realize what it was: the difference in the set design made for a much more engaging presentation.

Opening Scenes

It is the set design that literally sets the stage for the mood of the actions that take place, or at least it was obvious in these two instances. The set either reflects the artistic direction or helped create it; either way, these two things influence each other a lot and change the pace of the action.

Love blossoming

While I walked away from the COC production certain that I had seen a good artistic production, it did leave me cold somehow. The Opera York version however kept me engaged throughout and time flew by so fast that the three acts melted into one, despite the intermissions for the changing of the set. I realized that minimalism does not do much for most people in an opera. The communication does not come across as vividly in an overly stylized aesthetic. A set that shows where and when the story is taking place, just as the correct choice of costume, enhances the imagination and understanding of the audience, something very important in a community theatre, which caters to a diversity of audiences.

Congregation

This was not the only plus in this Tosca production. We saw it in the very new Richmond Hill Performing Arts Centre. The intimate yet ample auditorium still smelled of the freshly installed wood panels that make for such exquisite sound for Opera York Orchestra to shine as the music floated through the space.

Overture to a plot

Never before have we been able to appreciate the fine musicians as much as in this setting. Sabatino Vacca’s art and musical direction was full of lovely surprises. The somber theme was lightened with occasional touches of humor and of course the lovely spirited passages of Puccini’s work. There was action on stage and never a dull moment. The story unfolded naturally and fluidly.

The plot thickens

Mirella Tafaj was as much the diva as I have ever seen and heard. Her soprano possesses an unusual clarity devoid of unnecessary vibrato, yet has richness rare in such a tiny persona. Her Tosca was passionate and very believable.

Orders given

James Ciantar as Mario Cavaradossa is still in the early years of his career as a tenor, but has astounding qualities for one so young. He slipped into his part with ease and certainty. His voice and performance shone throughout.

The accused

Nicolae Raiciu was brilliant as Scarpio. He exudes old world stage charm, even in this evil role and his baritone is rich and warm.

Attempted rape

Douglas Tranquada, baritone, was most enjoyable and often funny in his role of Sacristan.

Revenge

Dan Mitton as Angelotti, McKenzie Galliger as Spoletta, Frank Arturi as Sciarrone, Aria Tesolin as a Sheppard Boy, and Bruno Trimelitti and Giovanni Battaglini together with the Opera York Chorus and the Bravo Academy Children’s Chorus rounded out a wonderful performance.

Will love conquer?

All the famous arias received scene applause and at the end the entire cast basked in the glory of the moment that lasted quite long for an ovation that had the patrons of Opera York on their feet.

Betrayal

The next opportunity to enjoy Opera York is at the annual fundraising gala on April 25 at Famee Furlane in Woodbridge. You can call 905-763-7853 to secure your seat to this fabulous event.

Curtain calls