Review: West Bay's 'Tosca' a winner again Review: West Bay's 'Tosca' a winner again (October 16, 2002)

Scott Bearden a marvel of evil as Baron Scarpia

By Mort Levine

Special to the Almanac

Giacomo Puccini's "Tosca," the season opener for West Bay Opera, proved again last Friday at Lucie Stern Theatre in Palo Alto to have all the ingredients that draw both veteran opera-goers and first-timers to one of the most performed works in the entire repertory. For those who have witnessed many a "Tosca" over the years, it would be hard not to place bass-baritone Scott Bearden among the outstanding interpreters of the fearsome and corrupt Scarpia. For newcomers to opera, "Tosca" combines an ingenious, suspenseful theatricality with some of the most melodic yet melodramatic music to convey insights into human passions.

The story is easily absorbed thanks to the concise English supertitles. Action takes place in 1800 in Rome as Napoleon is advancing to eject the oppressive ruling Austrians. Italian patriots are being rounded up and tortured by the sinister police chief, Baron Scarpia.

Tosca is a popular and beauteous diva, in love with one of the patriots, a painter named Cavaradossi. He shelters an escaping fellow patriot, Angelotti. Tosca and her lover are caught in Scarpia's net. He seeks the whereabouts of the escapee by torturing the painter. He then tries to exchange Cavaradossi's freedom for Tosca's sexual favors.

Deeply religious but also hopeful of gaining that freedom, she induces a safe conduct pass and a promise of a "mock" execution where the firing squad fires blanks. Turns out the baron doesn't keep his promises, but doesn't live to hear those shots, because Tosca runs him through with his own knife as he closes for his embrace. "Here is Tosca's kiss," she sings.

Tosca realizes she's been betrayed by the man she's killed when she can't rouse the painter after the "mock" execution. Meanwhile Scarpia's body is discovered where she left it and the soldiers rush to capture her. She foils them by leaping off the castle tower singing, "O Scarpia, avanti a Dio!" (we meet again before God).

The title role was sung on opening night by Julia Kierstine, who has a strong dramatic soprano voice. Her Vissi d'Arte (I lived by art, I lived by love), one of opera's greatest arias, was especially poignant. However, she seemed a bit matter-of-fact when uttering the sardonic "E avanti a lui tremava tutta Roma" (... and before him, all Rome trembled).

Veteran operatic tenor Kenneth Morris, who sang Cavaradossi, was strong in the middle ranges but found some of the higher notes more challenging. But he handled his three signature arias quite competently.

The Scarpia role is smaller than either of the lovers', but Puccini used the thematic leitmotif concept of Wagner's, so Scarpia's music reminded us throughout of his diabolical presence. Scott Bearden's superb acting ability combined with his masterful singing to project the character fully. Even his recitatives describing the torture were performed sonorously. To Bearden's fabulous Falstaff and his outstanding Rigoletto, this performance adds another reason he should be singing in one of the top opera venues here or abroad.

The three principal roles are double cast. Longtime a West Bay favorite, baritone Michael Morris alternates as Scarpia. A debut performance in the other Tosca role is by Tracy Saliefendic and her Cavaradossi is sung by Cuban tenor Gabriel Reoyo-Pazos, who made his local debut here as Hoffman in the Offenbach tales and as Faust.

Stage director Kenneth Tigar, in his third effort for West Bay, kept the flow of the drama moving adeptly. His shaping of the incidental characters, such as the comedic sacristan (sung by Rick Williams) and the reptilian police henchman Spoletta, who does Scarpia's dirty work (sung by Gary Ruschman) was remarkable.

Bass Daniel Morris likewise provided an admirable Angelotti. Ricky Jones sang an off-stage shepherd boy aria, which came through poorly modulated on the sound system.

Great credit should go to music director David Sloss and the small pit orchestra. He deftly matched his forces with the singers' despite some of the dissonances and abrupt chordal changes. Maestro Sloss also directs the Fremont Symphony.

Sets, given the smallish stage, are always a puzzle to work out. Jean-Francois Revon, who has worked with West Bay since 1993, provided good solutions. He even designed a scrim wall for Scarpia's office in the Farnese Palace, which allowed the torture scene to be projected as a grim oversize shadow play.
INFORMATION

West Bay Opera presents "Tosca" through October 20, Fridays and Saturdays at 8 p.m., and matinees on Sunday, at Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto. Tickets are still available through the box office, 424-9999.