(Photo: Hillary Scott)

I imagine that every lover of opera can reference memorable “Toscas” in their life, whether recordings or live performances. My first–as a young buff, via a vinyl box set–was indeed a classic.

All thanks to Gino, who–many years ago–managed the classical section of LPs at Sam Goody’s in Yonkers. He could always be relied upon for spot-on recommendations for which classical recordings to get.

When it came to “Tosca,” he did not hesitate. Maria Callas, paired with her Cavaradossi, Giuseppe Di Stefano and Tito Gobbi as Scarpia. A truly legendary recording.

And for me, all those years ago, I think I knew why this recording was so key. Callas’ voice, in its prime, made the sheer drama of Puccini’s opera patently real. It was music theater at its grandest.

Which bring me to my most recent “Tosca.”

Stellar Cast & Production Details

Boston Symphony Orchestra Conductor Andris Nelsons continues to impress with his mastery of archetypal operatic scores. His conducting at Tanglewood last year of Act three of Wagner’s “Götterdämmerung” was easily one of the best Wagner performances I have heard. And that includes attending performances at the composer’s own ‘temple’ of music drama, Bayreuth.

The cast? Easily one of the finest in the world (if not the finest). With the impeccable Boston Symphony Orchestra for the semi-staged production, the score–Puccini’s so-called ‘shabby little shocker,’ as dubbed by musicologist Joseph Kerman–has likely never sounded better or more detailed.

And…I am not sure if it’s because this was a one-night performance, but the dream cast assembled for this “Tosca”…was beyond what one could ever hope for.

Starting with the evening’s Tosca, the sublime Kristine Opolais. Not only was the soprano’s singing of the demanding role achingly beautiful–from the initial duet with her Cavaradossi to the so-moving ‘Vissi d’arte’–her acting was positively chilling.

I don’t think I have seen Tosca’s nature, her fierceness in her love (and amusing jealousy) for her painter lover, made so palpably real.

Matching her was the equally remarkable SeokJong Baek’s singing in the role of Cavaradossi.

And what a Cavaradossi he was. I have seen many of the greats, and Baek’s powerful tenor, and his performance…easily among the absolute very best. In some cases, at key moments in the score, such as Act two’s ‘Vittoria, Vittoria,’ I would have to say I have never heard such stirringly powerful singing in that role.

He also matched his Tosca with a realistic, impassioned acting performance that made their passion and love real–no small matter.

Then, we come to the villain. And I did say this was a “dream cast.” So, for the role of Scarpia was Sir Bryn Terfel. I had not seen Sir Bryn live before, though his singing and the acclaim it gets worldwide are obviously so very well-known.

But to hear that remarkable baritone summoning such a sinister and classic character on stage…was breathtaking. It was, in so many moments, in the sheer vocal richness–extraordinary as he became an evil, frightening Scarpia. One not easily forgotten.

His performance with the massed chorus, in the great ‘Te Deum’ that closes Act one, was simply stunning.

So with this–a vocal trio for the ages–in place, and with acting that matched the singing and the story, it became a breathtaking evening.

And while I could easily continue to cite the many explosive moments the principals delivered, I want to highlight the other cast members, matching masterful performances, all perfect.

More Cast & Musical Highlights

Two standouts were Morris Robinson’s Angelotti, whose warmth made his deep friendship with Cavaradossi–and the painter’s loyalty to his friend even when faced with death–so very vibrant.

Neal Ferreira’s Spoletta was chilling, in both his singing and his ominous look, carrying a brooding sinister air that matched his boss, Scarpia.

Ari Davis was so charming and assured, for such a young singer, as the Shepherd Boy.

There were other major aspects that made this production so moving. The great orchestra was, of course, on stage–part of the drama taking place, the music never sounding better, with every telling detail in place.

I often had the thought that this concert format–as done by Andris Nelsons, the BSO, and Tanglewood–may be my preferred way to experience the masterpieces. It’s as if the orchestra becomes an extension of every emotional vibration of the characters and their story.

The always wonderful Tanglewood Festival Chorus and conductor James Burton, delivered an overwhelming sound. Every chorus member was in full character as they literally filled the stage at the end of Act One. It’s not too much to say that the impact of the chorus was one of the night’s highlights.

For that, and for the staging in general, major credit should also definitely be given to the stage director, Dan Rigazzi.

At this point, one may think…could this “Tosca” have really been THAT good? Oh yes it was.

And if I may share…one post-concert moment. The next day, while staying at Stockbridge’s Historic Red Lion Inn, my partner, the writer Deborah Todd,  bumped into a performer from the night before, and she invited him out to the Inn’s centuries old patio to say hello to me.

It was none other than Sir Bryn himself, who then chatted about the performance, and how much he enjoyed the whole thing…the staging working so well. Despite his warm and generous smile, it was hard not think of how amazing he had been the previous night, when he transformed into one superbly performed and classic villain.

When the  baritone mentioned his cast mates, orchestra, and chorus, he seemed to have found their performances as extraordinary–and enjoyable–as everyone in the audience did.

And of course, the world of opera, being what it is, Sir Bryn said he was off to the Verbier Festival soon, looking forward to performing the jewel that is Puccini’s “Gianni Schicchi.”

So…there you go. Clearly, a magical weekend, which I guess you may be picking up on. This “Tosca” transcended all the others I have ever seen or heard.

And to have this on a perfect summer evening (finally!),  in the leafy Berkshires.

Life, beauty, and the world of opera at its very best.

And let us hope, more to come for all of us.