Jennifer Rowley in the title role of Tosca, Nashville Opera, 2017. Thomas Leighton and Rafael Porto as Spoletta and Sacristan, respectively, gave sturdy, John Pickle as Cavaradossi was best in Act III, a highlight being his expressive “E lucevan la stelle”, and the final love duet with Floria Tosca was very lovely.
Photo: Anthony Popolo for Nashville Opera. Jennifer Rowley (Tosca) and Weston Hurt (Scarpia) in Tosca, Nashville Opera, 2017. His lush and agile voice helped us feel for Scarpia, in spite of how frankly demented he is – it felt a bit like liking Don Draper – but it is an opera full of contradictions. Even so, in Scarpia, Weston Hurt brought (somehow, because…Scarpia) humanity to the role. It seemed like somewhere there was a disconnect between action and intent. The stage direction being fairly lackluster seemed to make it difficult for the other singers to portray exactly what they wanted. Weston Hurt (Scarpia) and Jennifer Rowley (Tosca) in Tosca, Nashville Opera, 2017. If you ever get the chance to see her, absolutely do yourself that kindness. The soprano drew me in every time she sang pianissimo, which somehow remained beautiful, even, and round, and I was fully rapt (and like ugly crying with a broken heart) by the end of Ms. Rowley’s skill for acting is eclipsed only by her formidable and acutely controlled, exciting voice. Rowley gets many things so right: her profound and comprehensive interpretation gives Tosca an organic, complex richness. Jennifer Rowley slated to sing the role again at the Met in January, was very clearly the star of the night. The first question always is “Well, how was the Tosca?” and ours was remarkable. That is the case here, with Nashville Opera’s production, the season opener, directed by John Hoomes. While Tosca isn’t quite like pizza – even when it’s bad, it’s still pizza – even if I have criticism, it’s still Tosca. There’s a reason why Tosca is one of the most oft-performed operas in the canon. Papal stuff.”), but a synopsis can’t really prepare one for this opera, can it? My companion for the evening hadn’t seen Tosca before (or even heard the music!), and quickly read a synopsis in advance (“I get the idea,” she texted me, “Opera war Italy love murder. Rowley wins the night in Nashville Opera's Tosca Review Tracy Monaghan Oct 7, 2017
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