(© Philippe Gisselbrecht – Opéra-Théâtre de l’Eurométropole de Metz)

After having offered “La Rondine” at the opening of the season and before “La Messe de Requiem” at the Saint Etienne Cathedral in Metz on November 29, the Opéra-Théâtre de Metz is featuring Puccini’s “Tosca” from November 15 to 21.

Illuminating Production Details

First of all, Patrick Méeüs‘s set is one of the greatest successes of the evening. Situating the action in a black square on the floor of which the protagonists are reflected, with pillars serving as light fixtures, Patrick Méeüs emphasizes the claustral atmosphere of the opera and even highlights in absentia the presence of Scarpia. Patrick Méeüs is also here the lighting designer, an accessory that he plays with talent. The crossing of the spotlights at the moment of the “Te Deum” in the first act, the dry brutality of the lighting in the second act and the flashes used for the execution of Cavaradossi in the third act show his care here too.

The video projections in the background of the stage, imagined by Julien Soulier, serve very well to work the space, sometimes by enlarging it as in the first act, where they serve by scrolling to show the extent of its interior space and sometimes to reduce it as with the staircase going up to the firing squad and or the fall of Tosca in the last act. The alloy of light, decor and video projections gives an atmosphere as painful as very appropriate to the drama.

The staging of Paul-Émile Fourny, nevertheless keeps some more questionable elements. First of all, the mute characters in white who double the protagonists on stage. The use of mute characters, essentially absent from the libretto, is always problematic. It is up to the spectators to judge their relevance. In this production, the white lining of Tosca who places the crucifix on the baron’s chest, after the singer stabs him in the back, could mean that death is on the singer as well as on the prefect. Another element whose relevance is left to the spectator’s appreciation, the song of the little shepherd at the beginning of the last act “Io de’ sospiri” is here sung by a soprano in white, instead of a child’s voice as tradition dictates. A small breath of fresh air in a moment charged with the tension instilled by the second act, this aria remains here in the cloister.

Notable Cast Highlights

The casting of the secondary characters was also successful. Olivier Lagarde as the sacristan shows a beautiful baritone voice, of which it is regrettable that the broken back, and singing in the cart containing the basket of provisions and the painting equipment of Cavaradossi, hinder his expression. The same for Joé Bertili as Agelotti, with the exhaustion of the fugitive escaped from the penal colony.

Francesca Tiburzi‘s Tosca, accustomed to the role of spinto soprano, begins by being caricatural, insisting on the strong jealousy of the singer. However, she grows very well into her role. The second act is undoubtedly the one in which she shines best, notably opposite Scarpia. The third act, despite adolescent attitudes with her lover, shows well during the execution of Cavaradossi, her talents as an actress. Her duets with Caravadossi remain balanced and appreciable, despite the tenor’s faults. Notwithstanding her singing, based on strength to seek grace instead of relying on charm to reveal strength, pushes too hard in the high notes, giving them shrill sonorities, which damages for example her “Vissi d’arte” or her first act. Fortunately, her acting gains depth throughout the opera.

If Aquiles Machado‘s Cavaradossi resembled his voice earlier in his career, such as his naturalness and an assured high medium, as soon as he held the note too long, a vibrato that would make cathedrals tremble would come out of his throat. His first aria, “Recondita armonia,” during which he must distinguish himself by singing his love for his mistress or his last aria, “E lucevan le stelle,” during which he bids farewell to life while declaring his love for her, sounded seriously deteriorated in this performance.

Devid Cecconi as Scarpia, for his part, embodies his character perfectly. Knowing how to use his presence and charisma, he is, more than acting, this summit of perversity. His aria during the “Te Deum” of the first act already illustrates this force pouring onto the stage with a restraint that only asks to disappear. He will pour it with an increasingly strong current, like glue, on Tosca in the second act, before exulting in his last aria “Già, mi dicon venal,” notably during the “Quest’ora io l’attendeva!” which arrives at his place like a cry of muffled pleasure. The second act, a duet-duel between Tosca and Scarpia is one of the peaks of the performance.

The orchestra under the direction of Nir Kabaretti is undoubtedly what enchants the most in this production. Giving the orchestra a fluidity and a silky texture, on which Wagnerian motifs are more painted than printed, the conductor effortlessly and magically brings out the strong moments, he seems to wrap a pomegranate in silk, to use a Breton word on Frida Callo. The orchestra was probably the most charming thing, in the strongest sense, that is, using beauty to penetrate the deepest part of the spectator.
In the end, this evening was very enjoyable, thanks to the respect for the work and the quality of the performers.