Something to live for. Something to die for.
All is fair in love and war. But for Rome’s celebrated opera singer, Tosca, all is not well. Fueled by jealousy, the Chief of Police pursues her artist lover for alleged treasonous acts, pausing only to pursue Tosca with a decidedly different set of acts in mind. From the start, Puccini’s penchant for verismo is as present as ever, and to further tighten the tension, each act plays out in real time – packing twists and terrors by the truckload into one 24-hour period. Also present is Puccini’s unrivaled ear for melodies that swirl like smoke trails, forming soft stacks of billowing clouds. But we know that eventually, all that heavy, haunting beauty will begin to block out the sun. Facing ruthless tyranny and torture, Tosca’s revenge is bathed in verismo violence and sealed with a kiss. But her willingness to trust a dead man spawns a startling, tragic twist. She lived for art and love. But Puccini saves what she’d die for until the bitter, shocking end.
Saturday, April 30, 2022 | 7:30 pm
Friday, May 6, 2022 | 7:30 pm
Sunday, May 8, 2022 | 2:00 pm
COMPOSER Giacomo Puccini
LIBRETTIST Luigi Illica and Giuseppe Giacosa
CONDUCTOR Ryan McAdams
DIRECTOR Carol Vaness
Understand every word: Performed in Italian with English subtitles.
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Tosca, Marina Costa-Jackson
A Metropolitan Opera Council Grand Prize Winner, Marina Costa-Jackson’s engagements have taken her to some of world’s leading opera houses including Los Angeles Opera (La bohème), Seattle Opera (Eugene Onegin/Cosi fan tutte), San Diego Opera (Suor Angelica), L’Opéra national de Paris (Carmen), Grange Park (Don Carlos), Cologne (La traviata), Savolina Opera Festival (Otello), Dallas Opera (Norma), Musica Viva Hong Kong (Il trovatore), Royal Concertgebouw (Roméo et Juliette). During COVID she was to make her Royal Opera House debut at Giulettea (Les contes d’Hoffmann), return to Paris for Mimi (La bohème), debut Amelia (Simon Boccanegra), and join Michigan Opera Theatre for I Pagliacci.
Cavaradossi, Robert Watson
Internationally acclaimed tenor Robert Watson made his professional debut with San Francisco Opera in Lohengrin, returning the following season to create the role of Henry Cox in the world premiere of Picker’s Dolores Claiborne. Recent highlights include leading roles in Nabucco, Boris Godunov, Les Huguenots, Tosca, Der fliegende Holländer, Les contes d’Hoffman, Carmen, and Salome, all with Deutsche Oper Berlin; Rusalka with Stadttheater Klagenfurt, Don José with San Diego Opera, Cavaradossi (Tosca) with Washington National Opera, and the Drum Major (Wozzeck) with Des Moines Metro Opera and debuts with Opéra Orchestre national Montpellier and Opéra de Lille.
Scarpia, Michael Mayes
A highly sought-after interpreter of Joseph De Rocher in Dead Man Walking, Baritone Michael Mayes has performed the role with Atlanta Opera, Washington National Opera, Teatro Real, New Israeli Opera, and the Barbican in London. Recent highlights include his debut with Staatsoper Stuttgart in Nixon in China, Sweeney Todd with the Bergen Philharmonic Orchestra, Rigoletto with Houston Grand Opera, Tonio (I Pagliacci) with Boston Lyric Opera, Thoas (Iphigénie en Tauride) with Staatsoper Stuttgart, Conte di Luna (Il trovatore) with Seattle Opera, Doug (Everest) with Lyric Opera of Kansas City, and Wozzeck with Des Moines Metro Opera.
Sacristan, Jake Gardner
Bass-Baritone Jake Gardner regularly performs with major opera companies and orchestras around the world. Jake performed Benoit/Alcindoro (La bohème) for Palm Beach Opera’s 2021 outdoor festival and Sharpless (Madama Butterfly) for Opera Tampa. Recent engagements include Lyric Opera of Chicago, Washington National Opera, Florida Grand Opera, Houston Grand Opera, and Los Angeles Opera. 2020 engagements were to include Il tabarro/Gianni Schichi with Maryland Lyric Opera, Aida with Opera Tampa, and La traviata at Lyric Opera of Kansas City.
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