Why, for example, in a church covered in wall and ceiling murals, is Cavaradossi painting on canvas? Or why is the table at which Scarpia dines in the palace the size of a side table? It looks ridiculous and completely out of proportion. Set designer Jean-Pierre Ponnelle (1932-1988) does a great job evoking these settings, but each is flawed. Each of these settings are actual places: Sant’Andrea del Valle, the Palazzo Farnese, and Castel Sant’Angelo. Tosca begins in a church, develops in a palace, and ends in a fortress. Adding to the tragedy, both Angelotti and Tosca commit suicide in order to avoid arrest. Tosca gives up Angelotti to save Cavaradossi and kills Scarpia, but Cavaradossi is executed anyway. The painter Mario Cavaradossi tries to hide Angelotti, but he is arrested and tortured by Baron Scarpia, who wants Cavaradossi’s lover Tosca for himself.
In the midst of this conflict, the Roman noble Angelotti (played by Rivers Hawkins) escapes from Castel Sant’Angelo.
The action unwinds during the Napoleonic wars, as Rome is caught between the competing armies of France and Naples. Michelle Bradley and Fabián Veloz - photo Cory Weaverīased on Victorien Sardou’s 1887 play La Tosca, Puccini’s opera premiered in 1900. Most notably, the conductor ( Eun Sun Kim) and director ( Louisa Muller) are both women, while three of the principal roles are performed by African Americans ( Michelle Bradley, Russell Thomas, and Leroy Davis), one by a Filipino American ( Rodell Rosel), and one by an Argentine ( Fabián Veloz). The best thing about it is its diversity. It’s not a bad production, but neither is it a great one it’s simply okay. I was really looking forward to seeing this season’s new-to-Chicago production of my favorite Puccini opera, but this Tosca did not live up to my expectations.
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