Opera Western Reserve`s Tosca at Stambaugh Auditorium By

Contributors:
David Vosburgh
Bernadette Lim
Editors:
Bernadette Lim
Jacqueline Bibo
Volume 9
Spring 2012
OPERA Western Reserve, Youngstown, OHIO
Opera Western Reserve’s Tosca at Stambaugh Auditorium By Robert Rollin
Youngstown’s Stambaugh Auditorium hosted an exceptional Opera Western Reserve production of Giacomo Puccini’s Tosca on Friday evening November 11.
The company presents one production per year and limits it to a single performance. Apparently this concept works well, as there was a full house. The production, perhaps because of financial limitations, was set in Mussolini’s 1940’s Italy instead of the original version’s early 1800’s. In no way did this change affect
the dramatic and musical flow. Staging and blocking were imaginative and effective, and the carefully prepared score was presented with clarity and wonderful
continuous flow by Music Director Susan Davenny Wyner and the fine orchestra.
Scarpia, whose unabashed evil persona drives the opera’s darkly melodramatic and Byzantine plot, is Rome’s Secret Police Chief and on the side of reactionary
forces. He pursues his political foe Angelotti, Consul of the former Roman Republic. Mario Cavaradossi, a painter practicing his art in the Church of St. Andrea
della Valle, hides Angelotti at his villa. By threatening to execute Cavaradossi for his transgression, Scarpia, whose evil is rarely matched in the genre, blackmails
Tosca, a professional singer and Cavaradossi’s lover, into revealing Angelotti’s hiding place and into agreeing to submit to his licentious advances. Scarpia signs a
bill of safe passage for the two lovers and agrees to use fake bullets in Cavaradossi’s execution. Before Scarpia can execute his plot, Tosca stabs him to death. In the
morning Cavardossi faces a firing squad using real bullets in Scarpia’s final act of treachery. In reaction to her lover’s demise and as the troops pursue her, Tosca
throws herself from the parapet of Castle St. Angelo.
The talented lead singers were Marian Vogel as Tosca, Alex Richardson as Cavaradossi, and Michael Young as Scarpia. Vogel has a Carnegie Hall soloist debut to
her credit and has sung soprano leads in many important operatic and concert appearances. A surprisingly powerful, controlled voice belies her delicate proportions. She was terrific throughout the opera, most notably in Act Two. Her balcony solo with chorus simulated a religious service, as the rest of the action continued onstage. This was truly one of Puccini’s most inspired moments. Later she was beautifully expressive in the famous Vissi D’Arte. She poured real passion into
the sad aria when Tosca speaks of devotion to music and religion, yet is deserted by God in her deepest misery.
Richardson, a tenor who has a wonderful dark vocal quality, stole the show in the Act Three aria E lucevan le stelle. The setting is just before his execution and
after he writes a letter to Tosca declaring his undying love. Here Richardson sang with remarkably ardent emotion and skill. Young effectively portrayed Scarpia’s
perfidious nature in the Act Two aria Già mi dicon venal, singing that he does not crave money, but rather the evil pleasure of forcing himself on a reluctant
woman. His stage presence was excellent and he certainly seemed detestable in the role. Balance throughout the opera was exceptional. Of the three soloists, only
Young’s baritone was eclipsed a few times by the full orchestrations.
Other notable parts were sung by bass Max Pivik, who played both Angelotti and the Jailer, and bass John Simsic, as the Sacristan. Pivik had fine vocal quality
and pacing. Simsic, who also had a strong voice, chose to play the Sacristan as a doddering, almost slapstick figure, providing some needed comic relief from the
darkly sad plot.
This marvelous production was a team effort. Chorus master Hae-Jong Lee oversaw the combined forces of the Opera Western Reserve Chorus, the Girard
City Schools Youth Choir, Sue Ellen Harris, director, and the Salem Youth Chorus, John Simsic, director. All the choruses were excellent and all changes flowed
beautifully. Production Director David Vosburgh’s inventive use of the hall to provide a variety of entrances and exits for the singers and choruses was very clever
and effective. Conductor Susan Davenny Wyner showed remarkable knowledge and understanding by never allowing the music and action to flag, by skillfully
balancing instrumental and vocal forces, and by insuring that the singers were consistently audible against the musical flow. Vosburgh in his early days sang at the
Met and rescued a chair from being discarded after being used as Scarpia’s seat in an early New York production. The chair reappeared years later in the current
show, exemplifying the care and skill given this opera.
Published on ClevelandClassical.com November 15, 2011
http://www.clevelandclassical.com/111511owrtoscarev
The OWR Young Artists Present: Tosca in Miniature
This past November, the Opera Western Reserve Young
Artists were not only busy with Tosca, but also worked hard
to produce and perform their Mini Main-Stage production
of Tosca to approximately 300 students from several local
schools. The hour-long performance treated the students
to a production on the stage of historic Stambaugh
Auditorium, complete with a full set, lights, costumes, and
super title projections.
Tosca in Miniature was accompanied by Paula Kubik.
The narration was energetically led by Robert Pierce. In
addition to narrating, Mr. Pierce sang the role of Sciarrone.
The narration, written by The Young Artists, consisted of a plot summary that was presented before each song.
The brilliant cast also included Diana Farrell as Tosca, Young Artists Director, Max Pivik as Scarpia, and Enrique
Bernardo as Cavaradossi.
Tosca in Miniature was a wonderful success. Opera Western Reserve is ecstatic to see the Educational Outreach
Program grow and achieve its goal of bringing opera to children. OWR hopes to continue reaching out to more
schools and educating them about this unique art form.
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7:30 p.m.
Friday, November 30th, 2012
Stambaugh Auditorium
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THE BARBER
OF SEVILLE
Nominations for Community Representatives on the Opera Western Board of Trustees are now being accepted for 2012-2014.
Any person is eligible to become a Community Representatives if he or she satisfies each of the following conditions:
1. Attends Opera Western Reserve productions;
2. Can influence the Opera Western Reserve positively through knowledge and experience;
3. Can donate to the Opera Western Reserve via financial or in-kind support.
Persons interested in nominating themselves or in nominating others submit names of candidates to Elliot Legow, Governance
Committee Chair, at elegow@aol.com.
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Contents
New Logo Design by: Garrett Ensley
Tosca Review
Tosca in Miniature
Save the Date
Become a Donor
WYSU
Ticket Order Form
OWR Board Nominees
Lawrence Brownlee
1000 Fifth Avenue
Youngstown, OH 44504-1673
We’d like to thank...
Ruth H. Beecher Charitable Trust
The Cafaro Company
DeBartolo Foundation
Dominion Foundation
Frank & Pearl E. Gelbman Charitable Foundation
Schermer Trust
The Aimee and Lulu Seidel Foundation
Walter E. & Caroline H. Watson Foundation
... for their support!
Opera Western Reserve
Patricia Fleck Kavic, Chairperson/General Director
Susan Davenny Wyner, Music Director/Conductor
David L. Vosburgh, Production Director
“Opera Western Reserve’s La Traviata demonstrated that the
company has come of age.” -Classical Cleveland