
Metropolitan Opera 2024-25 Review: Tosca (Cast C)
Sondra Radvanovsky, Bryn Terfel & Brian Jagde Electrify the Met in ‘Tosca’ Revival
By Francisco Salazar(Credit: Evan Zimmerman / Met Opera)
For the third time this season, the Metropolitan Opera is reviving Sir. David McVicar’s “Tosca” production. The production has become one of the most successful for Peter Gelb’s tenure and one that has seen some of the greatest divas on stage.
At the beginning of the season, the Met showcased a beguiling Aleksandra Kurzak and a heroic SeokJong Baek in the lead roles. That was followed by the incredible debut of Freddie De Tommaso alongside Lise Davidsen and Quinn Kelsey.
Now the Met is bringing the best cast of the three in what is sure to be a legendary run for the house featuring Sondra Radvanovsky, Brian Jagde, and Bryn Terfel.
A Legend Returns
It’s been 13 years since Bryn Terfel performed at the Met. He last sang in “Siegfried” in the Ring Cycle and never returned. But it was not because of management. Fate seemed to get the most out of him. He canceled “Tosca” in 2018 when the production first premiered and then in 2020 he canceled “Die Fliegende Hollander;” both cancelations were due to illness and an injury. Now he is back in what seem to be his last performances at the Met as he doesn’t have any contracts in the near future. Hopefully this changes after the run.
From the moment he walked on stage, the bass-baritone was received with a rousing ovation. He then went on to sing his first lines “Un tal baccano in chiesa” with a booming and threatening sound. His demeanor was one of a despot provoking fear over everyone on stage. He loomed over everyone as he gazed around the church inspecting everything from Cavaradossi’s paintbrushes to the fan. And then in his duet with Sondra Radvanovsky, he sat down, singing with a suave sound that sometimes went as far as a piano, the gentle legato line emphasizing his lust for Tosca. Throughout the duet, he eyed every jealous outburst of Radvanovsky’s and sang his “In chiesa!” with a snarl before picking up her veil and touching her back, setting up his advances for what would be a tension-filled second act. In his “Te Deum,” Terfel held back his sound but still boomed with great force and pounded his chest with vigor as he ended the great scene.
In the second act, he sat down and sang “Tosca e buon falco,” with grit and desire, the voice soaring over the orchestra and the high register gaining strength and power. In his brief confrontation with Cavaradossi, Terfel moved about the stage with authority, with the phrases “Dov’è Angelotti?” and “Negate avergli dato cibo?” resonating with thrilling sound and Terfel biting into each phrase. At one point, he went face to face with Brian Jadge singing the lines “l’ultima volta: dov’è?” right into his ear. It was menacing as he whispered them. But it only got better once Radvanovsky entered the scene.
Terfel’s advances became even more crude and violent. He could go from a pianissimo sound to a fortissimo one after the other, creating an unpredictable character that was terrifying at every turn. As Radvanovsky listened to Jadge’s Cavaradossi from afar, Terfel walked in her face with the opening phrase “Orsu Tosca Parlate,” mocking the two lovers. The voice slowly gained potency and his character upped the aggression as he chased her around the desk and delivered “Aprite le porte che n’oda i lamenti!” with a thundering voice. At one point, as Radvanovsky’s Tosca begged, Terfel took her by the arms not letting her go.
But then in “La povera mia cena fu interrotta” and the subsequent aria “Già mi struggea, l’amor della diva!” Terfel opened the phrases with legato lines mixed with cynicism in the voice. And as he sang the lines, his lust for Tosca grew as he signaled his desires toward his crotch area and then towered over caressing her shoulders almost going toward the breast area. His sexual advancements became increasigly threatening. At one point he pushed Radvanovsky to the floor following her “Vissi d’arte” singing “tu, a me una vita, io, a te chieggo un istante!” with force. Even when Spoletta walked in, he continued in his domineering position and then sat on the chez.
Then he delivered one of his most incredible moments of the evening. Terfel whispered the “Ebben?” knowing full well he had won the cat-and-mouse fight with Radvanovsky. The sound traveled through the Met auditorium with such ease and you knew it was at this moment that Radvanovsky’s Tosca had no choice. But this phrase also showcased a cynical Scarpia that was clearly tricking Tosca no matter what he promised. His “simulata!… Come avvenne del Palmieri! Hai ben compreso?” was phrased with sarcasm and a precise emphasis on the consonants. Even as he was signing the “salvacondotto,” Terfel managed to find a sexual moment using the feather. But as he advanced with “Tosca finalmente mia” in triumph, he and Radvanovsky managed to create tension, Radvanovsky violently killing his Scarpia.
An Unforgettable Diva
Speaking of another return, it’s surprising that Sondra Radvanovsky has been missing from the Met for three years. The soprano is one of the most important singers in the world and has recently debuted in many opera roles like “Turandot,” “Macbeth,” and “La Forza del Destino,” receiving raves in all of them. These are operas that the Met should be hiring her, especially in new productions. On this evening her Tosca was nothing short of thrilling.
As soon as she entered the stage, the diva received an ovation from the enthusiastic audience and brought a youthful romantic feel to the part. She was full of energy on stage twirling and playing with Cavaradossi’s paintbrushes and flirting with Brian Jagde’s Cavaradossi. She was also a pious innocent young woman, who took time to kneel to the Holy Virgin and move away from any religious symbols to make advances on Cavaradossi. Even at the end of the duet, as she kissed Cavaradossi, there was a innocence and sensuality in her demeanor. Vocally Radvanovsky entered with an warm sound full of gorgeous pianos and tempestuous fortes, especially during her jealous outbursts, “Chi e quella donna bionda lassu” and “E l’Attavanti!” Her “Non la sospiri la nostra casetta” started with a light and coquettish tone that rose to an impassioned and hopeful bright timbre. The emotions kept rising as she sang “Ah, quegli occhi!…” with a lilting line, but slowly gave into Brian Jagde’s impassioned vocalism.
Her subsequent duet with Scarpia saw Radvanovsky return with emotive “Mario?! Mario?!” slowly turning back to the jealous and questioning Tosca. From her first interactions with Terfel, there was already tension and fear. Radvanovsky kept to the front of the stage and only moved back to him at one moment. As she shift about, you could fell Tosca’s torment Radvanovsky delivered a full-bodied “Ed io venivo a lui tutta dogliosa.” But then she quickly moved away and on “Dove son? Potessi,” she circled aroound stage, singing with desperation. That eventually crescendoed as she dropped her veil and sang “Oh mio bel nido insozzato di fango!” emoting the lines with a harsh staccato. That built up until her “Giuro,” which was emoted as if she was yelling. The effect was quite powerful. Her ensuing “dio mi perdona” and “Egli vede ch’io piango!” wept with emotion. The veil trade-off that McVicar put in this production was full of tension with Radvanovsky visibly fearful of Terfel’s advances on her.
If Radvanovsky was a force in Act one, Act two only proved why she is one of the great Tosca’s today. Not only did Radvanovsky sing with blazing High Cs, a resonant chest voice, and declamatory grit, but her acting was full of different levels. Her pious innocence came through in her confrontation with Scarpia as she tried to escape his every move. That was especially true in the torture scene with her first response “Non so nulla!” sung with a gutsy chest voice, defiant in its expression. But that descended into torment with each response showing Tosca’s desperation. The voice took on a weightier sound, especially on “No… mostro! Lo strazi… l’uccidi!” and “Che dire?” It eventually crescendoed to the “No! – Ah! Più non posso! – Che orror!” as Radvanovsky sang with powerful high notes emphasizing Tosca’s agony. The section concluded as she let out a sobbing chest voice in “Ascolta, non posso più…” and later yelled “Assassino!” with desperation. Her “Quanto?” and Il prezzo!…” saw Radavovsky attempt to regain control but she was seated and Terfel’s Scarpia quickly took control of the space.
And then came her masterful “Vissi d’arte” which was nothing short of a masterclass. From the moment she began this aria, you could hear that Radvanovsky’s Tosca was affected by everything she had already witnessed. The first lines were a lament and that set the tone for the mournful interpretation. Her voice floated with gorgeous pianissimo lines that melted one into the next. Each line was connected by the weeping quality of its opening, especially her “perché, perché Signore, perché me ne rimuneri così?” And as she repeated the lines “perché, perché Signore” rising up to her B flat, the voice soared with power. But that wasn’t the most astonishing moment of the aria. It was the descending “Ah!” following that B flat where Radvanovsky went from a pianissimo sound and crescendoed it to a fortissimo with great command. And she repeated that phrase on the last bar, “perché me ne rimuneri così?” It was truly spell-binding.
In the final moments of the Act, Radvanovsky displayed a fearful quality as she took the knife and hesitated to kill Scarpia. The “Questo è il bacio di Tosca!” and “Son Tosca!… O Scarpia!” were gritty and defiant but she retreated in her “Muori, Muori!” with hesitation and panic. That was also evident “E avanti a lui tremava tutta Roma!” as she used a hushed tone instead of giving it the usual guttural chesty voice. And when she put the candles and cross next to Scarpia, she trembled. It was visceral.
In Act three, as Radvanovsky entered the scene, the soprano radiated with happiness, at one point jumping for her lover. But this Tosca was clearly traumatized by Scarpia’s murder. In her “Il tuo sangue o il mio amore,” she was delivered staccato lines and her voice rang with a mournful tone. That was especially heard in “Lì presso luccicava una lama…Ei scrisse il foglio liberator,” the tone slowly building to the “Io quella lama gli piantai nel cor.” That torment slowly dissipated on the “O dolci mani,” as the voice obtained a lighter sound, brightening on “Senti… l’ora è vicina; io già raccolsi.” The interactions with Brian Jagde returned to the playfulness of the beginning with the “e noi siam salvi!” and “Amaro sol per te m’era il morire” sung with hopefulness and a gorgeous radiant timbre. Radvanovsky also floated some gorgeous notes. The hopefulness of Radvanovsky’s interpretation was all the more heartbreaking as she discovered the dead body of her Cavaradossi, her “Mario Mario” pleas all the more affecting. And as she ran to the ledge of the Castel to jump, there was a terrified look on her face.” Her “O Scarpia, avanti a Dio!” wasn’t triumphant, it was a terrified woman singing with desperation. For the first time, McVicar’s jump worked as you sensed Radvanovsky’s Tosca hesitating, but ultimately making the decision as Scarpia’s guards encircled her.
The Hero
In the role of Cavaradossi, Brian Jagde returned to his acclaimed turn. Jagde has become one of the go-to tenors at the Met for his heroic sound and his versatile repertoire. On this night, Jagde was experimenting with sound to great effect. As he opened his “Reconidta Armonia” he sang with smooth legato lines that slowly crescendoed to a forte sound. His resounding final note was nothing short of virtuosic.
His following duet with Radvanovsky saw the tenor interact with the soprano with great chemistry, Jagde following everyone of her moves. His “Mi avvinci nei tuoi lacci” began with a piano sound that slowly reached its climax with passionate singing that emphasized the romantic quality of his Cavaradossi. His “Quale occhio al mondo può star di paro” opened with a beautiful piannissimo sound that slowly built to the higher ranges of his tenor. The voice rang with a gorgeous legato line and later blended perfectly with Radvanovsky. The interactions became more and more impassioned as the duet crescendoed to its final melody, “Mia Tosca idolatrata.”
Jagde’s second act was full of defiance and his interactions with Terfel full of intensity, The two were at odds and his responses, “Non lo so,” “Nego,” and “E rido ancor. E rido ancor!” obtained a gritty declamatory form. Each repetition only brought the scene to a contentious climax as Radvanovsky’s Tosca walked in. And in his show-stopping “Vittoria! Vittoria!,” Jagde got up and sang a monumental B Flat. The sound rang with vigor and his subsequent “L’alba vindice appar” was delivered with accented phrases before running to attack Scarpia and emoting “o Scarpia carnefice!” with grit and despair.
Act three saw Jagde open his “E Lucevan le stelle” as a lament. The lines disconnected emphasizing the weeping quality of Cavaradossi’s state and the doom he feels for losing his love. But he soon went into a more connected legato line in “Oh, dolci baci, o languide carezze,” where he sang with a piano sound, floating the lines in a way I have never heard the tenor sing. Intonation was an issue at one moment but it didn’t matter as he held back the sound to great effect. And then in “Svanì per sempre il sogno mio d’amore…,” Jagde held nothing back, bringing the full power of his voice singing with powerful high notes, the voice resonating with devastation. It was truly some of the best singing he has done at the Met.
In the subsequent duet, Jagde played off of Radvanovsky’s tormented woman and her hopefulness. His “O dolci mani mansuete e pure” was filled with tender phrasing and smooth lines that never rose above a mezzo-forte. The interactions became more playful as the duet developed and only then did he beam his fortissimo sound at the conclusion on “Armonie di canti diffonderem!” Both voices matched gorgeously, their sound washing over the listener with power. In the lead-up to his death scene, Jadge continued his playfulness with Radvanovsky. His “come la Tosca in Teatro” was jovial and later, as Radvanovsky gave him signs of how to fake his death, he imitated her right before getting shot. It made his death to feel even more tragic.
Patrick Carfizzi, as the Sacristan, had a strong sound, delivering the patter lines with precision and creating a funny dynamic between him and Cavaradossi. However, in his interactions with Terfel, his character trembled on stage from seeing the overpowering figure.
William Guanbo Su was also quite strong in his brief entrance as Angelotti.
In the pit, Xian Zhang led the performance with care and swift tempi, even if sometimes she veered away from the singers and didn’t follow their subtle pauses and tempo shifts. That was most evident in the entrance before the “Te Deum” which was oddly timed and hesitant. The cello solo that introduces “E Lucevan Le Stelle” was also tentative, sometimes falling flat in intonation. Overall, however, she was in solid form and kept the entire opera moving.
This performance was nothing short of the quality we come to the Met Opera for. Star singers delivering at the height of their powers to concoct some spine-tingling drama. One of the best performances of the 2024-25 season. Hopefully there are more to come.