Vancouver Opera’s Tosca: Passion, Power and Puccini
Puccini’s Tosca delivers all the ingredients of grand opera: political intrigue, passion, jealousy,
betrayal and tragedy. Set in Rome in 1800, the story follows singer Floria Tosca as she fights to
save her lover, the painter Mario Cavaradossi, from the ruthless police chief Baron Scarpia.
Against a backdrop of political oppression and corruption, love and sacrifice collide in a
devastating finale.
Under the direction of Brenna Corner, Puccini’s masterpiece comes to life in an engaging
production that reminds us that themes of politics and power never grow old. A striking set
design and a superb orchestral performance under the baton of Jacques Lacombe elevate the
staging. Scott Reid’s set is one of the best I’ve seen on the Vancouver Opera stage, transitioning
seamlessly from the basilica of Sant’Andrea della Valle to Scarpia’s office in the Palazzo
Farnese and finally to the battlements of Castel Sant’Angelo. Michel Walton’s dramatic lighting
brings each scene to life and creates a mesmerizing atmosphere. The silhouettes in the torture
scene are particularly effective, adding to the drama without becoming gratuitous.
All three leads deliver compelling vocal performances. Joyce El-Khoury brings both
vulnerability and diva power to Floria Tosca, particularly in her aria Vissi d’arte, where her
voice moves from quiet despair to emotionally charged heights. Tenor David Pomeroy is equally
moving as Cavaradossi. His Act III aria E lucevan le stelle stands out for its tenderness and
melancholy, poignantly evoking love and impending loss. As the menacing Baron Scarpia,
Gregory Dahl brings a chilling presence to the role. A particularly memorable moment is the Te
Deum at the end of Act I, featuring Vancouver Opera’s Children’s Chorus. Their voices ring out
as Scarpia gloats over his plan to kill Cavaradossi and claim Tosca for himself—a striking
contrast between the sacred and the sinister.
On a personal level, Tosca has never quite stirred the emotions that some of Puccini’s other
operas have. The drama leans a little too heavily on clichés, and Floria Tosca strikes me as naïve
and impulsive rather than a heroine courageously risking everything for love. That said, Tosca is
as much a political thriller as a tragic love story, and the dramatic power of Puccini’s music is
undeniable.
Most importantly, the audience loved it! Sustained applause and bravos rang through the Queen
Elizabeth Theatre. It was a triumphant evening for Vancouver Opera and a promising start to the
season.
Performances continue October 29 at 7:30 pm and November 1 at 2 pm at the Queen Elizabeth
Theatre.
Photo credits: Emily Cooper
