Who needs the big opera companies? Last May I enthused about Utah Opera's
Ballad of Baby Doe.  Last night I attended the Virginia Opera's production
of Tosca at George Mason University in Fairfax, Virginia.

First, let me say that I have been permanently, hopelessly imprinted by
the Callas Tosca (EMI 56304), which some people much more experienced
than me have called not just the greatest Tosca, not just the greatest
Callas, but the greatest opera recording ever.  And in 1953 mono, no less.
Regardless, I thought Frank Porretta as Cavaradossi was excellent.  His
Recondita Armonia was everything I could have hoped for.  Guido LeBron
as Scarpia might not have been a Tito Gobbi, but when he made his first
entrance, man was he menacing.  I had a little problem with Fabiana Bravo
as Floria Tosca.  Note I said "*I* had a little problem." I found myself
criticizing her for not being Callas, for not duplicating the disc in every
nuance.  For instance, Bravo sang the words "Quanto? Il prezzo", whereas
Callas spat the words at Scarpia.  There were some little trills that I
look forward to on that disc, but which Bravo didn't duplicate.  It's not
fair, how could she? How could anyone?

There were so many things in this production that will allow me to enjoy
that disc even more.  I hadn't realized that the music accompanying Floria
and Mario in their love duet was reprised when Scarpia begins his Act I
pursuit of Tosca.  That device entirely perverts the Tosca-Cavaradossi
relationship.  Scarpia's role for me is now more singing, less snarl.
And the church settings as well as the Sacristan's part are more clear.

The stage had some dead spots (the building is a concert hall, not an opera
theater) and the orchestra didn't have the painful power I wanted (I really
turn it up when I'm listening to it in the car), but conductor and Virginia
Opera artistic director Peter Mark made me believe that I was attending a
top-flight Tosca given by a top-flight cast.  What more can you ask of the
Virginia Opera?

Mitch Friedfeld