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At its turn-of-the-century premiere, Tosca was perceived as particularly coarse and was criticized for a focus on ill-mannered tyrant types and for pervasive brutality (which included execution by firing squad and a suicide). It seems, though, that Kansas City opera goers do not mind such decadence: just as the opera did in Italy in 1900, Tosca opened to a packed house at Kansas City's Lyric Theater on Friday night.

Puccini was drawn to Victorien Sardou's play La Tosca for its potential: the story itself was compact, which left ample room for music. Fortunately, Puccini's librettists had a penchant for concision that aligned with the composer's urge to not overdo the arias; their collaboration yielded an opera where the music supports the drama without being superfluous. In fact, by definition Tosca is a melodrama, which implies that there is less of the "aria-driven" format so typical of Italian opera; dramatic integrity and the narrative sequence actually have a fighting chance. The resulting story was one that Sardou supposedly endorsed and one that Puccini thought was of course even better than his original inspiration. There remain a few subplots that churn throughout, but Puccini slights those to focus on his main characters, thus, the political undertones (relevant to revolution and Napoleon) remain subordinate. The audience is able to follow the romantic narrative of Tosca and Cavaradossi and the energy and suspense of all three main characters' eventual demise.

Much of the opera's appeal is naturally anchored in the well-developed characters: there is simply something very human about Puccini's version of Floria Tosca. He makes her a larger-than-life diva and a thoughtful religious devotee, but she also proves to be a woman with an intensely vulnerable side, seemingly as eager to be cared for and protected by Cavaradossi as she is to dominate their relationship. This role is a winner for a multi-faceted singer and actress like Lisa Daltirus, who commanded every layer that the persona offered. Her stylish treatment of Tosca made her work memorable.

Of course, Puccini saves Tosca's real drama for late in the story, so her initial entrance in Act 1 is appropriately dampened. She is at once delicate and demanding, and Daltirus admirably controls the character's fiery temperament. Here Tosca is pouty and jealous, but this sets up only one dimension of this smart woman-a character built by librettists Giacosa and Illica from Sardou's gentler, more docile personality. It is already clear, though, that the vocal acrobats the audience craves will be satisfying, as her remarkable range and facility are already obvious. Daltrius then expertly brings the audience along on the struggle between her devoted, disciplined self and the part of her who is relentless in getting what she wants.

As expected, Tosca comes to life later in the story, and "Vissi d'arte, vissi d'amore"- sung while sprawled on the chaise lounge in Scarpia's quarters-is superb.  It is not long before this pious woman (decked out in borrowed Tivol jewelry) wills Scarpia to die with a fierce growl: "Morrir!," yet femininity still oozes from Daltirus, as she finally reveals the character's core strength. Tosca evolves even more by Act 3, where it is stalwart conviction that makes her sound different as she revels in the re-telling of Scarpia's murder.

Rafael Davila's opening recitative proved that easy does it. He delivers effortlessly Cavaradossi's lines, opting for a carefree attitude for this leading man. Puccini's signature soaring melodic lines were matched with the orchestra, which supported the florid vocal lines required here, and Davila's forward tone, careful vibrato, and welcome brightness made evident a versatile voice. The languorous ritardandos in "E lucevan le stelle" of Act 3 create a heavy yet luxurious moment as Mario recalls a simpler past.  Overall, Daltirus elicited more spontaneous response from the audience, but Davila deserved the same lavish ovations.

Scarpia is motivated by power, acting without scruples toward villainous goals, and Greer Grimsley's interpretation of him was remarkable. At times, though, Grimsley shows some sensitivity, at least when Tosca, in Act 1, realizes her lover may indeed be with another woman. Scarpia helps her up from her knees, glances rather helplessly at her, not seeming to want to interrupt her personal grieving. His devout prayer, "Va Tosca," incorporates the sensational chorus, and Scarpia encroaches on Cavaradossi's territory in more ways than one when he scales up the painter's scaffold, prematurely reveling in his presumed victory over Mario's beautiful Tosca. Scarpia's almost reluctant sign of the cross here is telling, maybe revealing a personal conflict, and demonstrates that Grimsley takes a leap to afford Scarpia a certain weakness while offering the audience something unexpected, however fleeting.

Perhaps Grimsley is at his best when his Scarpia spews profundities from his own chaise lounge in Act 2. The scenery here, along with a muted orchestra and a composed villain, provides a bustling sense of anticipation, a nervous calm before the storm. Here the audience is treated to more ensemble writing, hearing but not seeing Tosca as her voice rises above the choir (situated outside during Scarpia's inquisition of Cavaradossi) with the sounds of his torture layered in.  It seems Scarpia's vengeful, demonic side (which Grimsley so vividly projects via expression, posture, gestures, and vocals) is going to emerge in time to meet Tosca's real strength.

Since there is less narrative and musical "padding," this opera has momentum, even during recitative passages, where listeners are treated to unexpected bouts of lyricism and some displays of vocal agility; even with some peripheral events that distract, the audience remains most concerned with how those events are affecting the two lovers.  Throughout, Puccini adds depth to the story by exploiting a certain simultaneity of sentiment: while one singer is delivering an aria, another might "whisper" something under his breath-that aids dramatic action, and those moments are richly rewarding for the audience. Puccini also weaves a web of recurring motives to aid in dramatic effect, like when the orchestral motive to which Tosca first enters in Act 1 recurs in Act 2 to bolster her resolve to get Scarpia out of the picture.

The Lyric production was expertly cast overall: the Sacristan was bumbling and loveably awkward, and he deftly concentrated so much personality into his limited time on stage. Harris delivered a resigned Angelotti in his robust bass. Grimsley's baritone was surely the kind of vocal complement Puccini would have approved of, as it countered so perfectly Davila's lighter tone. In fact, smart choices were made down to the smallest roles and at the start of Act 3, when the stage is bathed in gray and the moment is so static, the purity of Sarah Hennessey's voice as the Shepherd Boy is astonishing.

The orchestra was a steady companion throughout, appropriately enhancing the recitative and aria sequence. Some adjustments were made to the ensemble's dynamic level after Act I, which created better balance for the singers (in Act I Scarpia was surprisingly a bit outdone by the brass-which was decisively dramatic and rich, but so loud that listeners lost some of his sinister monologue). R. Keith Brumley's set design makes an immediate impact as the first curtain goes up, where cavernous vaults meet geometric squares and a real sense of verticality and depth draw in the audience; the set for Act 1 is at once an artist's studio, a holy sanctuary, and a refuge for prisoners, and throughout, the stage direction took full advantage of the various "places" within a single set. The trio in Act 2 was admirably blocked, creating an intense physicality among the three main characters. The children's choir was appropriately mischievous and delightfully playful; they blended beautifully. The chorus, stacked with so many fine singers, provided depth and diversion to Act 1.

REVIEW:
Lyric Opera of Kansas City
Tosca
Wednesday, September 16 at 7:30 p.m.
Saturday, September 19 at 8:00 p.m.
Lyric Theatre
11^th and Central Streets, Kansas City, MO
For tickets call 816-471-7344 or online at www.kcopera.org.

 COVER PHOTO: Lisa Daltirus as Tosca. Greer Grimsley as Scarpia in the Lyric Opera of Kansas City production of Puccini's "Tosca." Photo: Doug Hamer (c) Lyric Opera of Kansas City 

By Sarah Tyrrell

Opera, Vocal and Classical Contributor

Since 2004, Dr. Sarah Tyrrell has been part of the Musicology faculty at the UMKC Conservatory of Music. In 2003, she completed doctoral work at the University of Kansas and also holds degrees in music history and voice performance from the New England Conservatory of Music and Kansas State University. At UMKC, Sarah teaches undergraduate and graduate classes in music history and world music, as well as graduate seminars on American and Latin American musics. Sarah has presented her research locally and nationally (her research specialty is the art music of Brazil) and actively guest lectures about town on Brazilian popular subjects such as samba and bossa nova. Her articles and reviews have appeared in Musical Quarterly, Latin American Research Review, and Latin American Perspectives.

Sarah is also active in the Kansas City choral music scene: she is the Artistic Director of the Metropolitan Chorale of Kansas City and also sings soprano with the group. This 60-voice ensemble presents four concerts each year and recently completed a performance tour of Brazil.