Review: At its core, “Tosca” is a portrait of two lovers unable to find their place, done in by the battles that surround them, and used to further the agenda of others.
Saturday night’s Lyric Opera of Chicago opening of “Tosca,” the Giacomo Puccini opera set as the Neapolitans abandoned Rome and the city fell to what would be years of annexation and Napoleonic domination, began with the Ukrainian national anthem.
Invariably, characters like Baron Scarpia seem always to be there to destroy such idealism. At intermission of director Louisa Muller’s production, a fellow audience member asked me if I thought the palpable approval at Tosca taking her revenge on Fabián Veloz’s scuppering guttersnipe of a Scarpia was merely customary or a projection of someone else the free world would like to see stopped in his tracks. I demurred.
[Most read] ‘The stakes feel higher.’ Recent violence blamed on youths highlights Chicago teens in trouble and efforts to save them.Bradley’s vocal emphasis in the famed title role is on that character’s agonized response to the ascending chaos around her. In the piece, Tosca’s journey starts with misplaced worries about her lover’s fidelity, only for her to realize that her main problems lie abroad in political matters; artists, she learns to her cost, cannot escape their surroundings.
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