One consciously downplayed expectations for Sarasota Opera’s revival this season of Puccini’s “shabby little shocker,” not expecting lightning to strike twice in the same place. Yet on Thursday night, with an entirely different trio of principals, the company served up yet another electrifying performance that in some ways even exceeded the live-wire production of 2004. The fact is, Sarasota Opera simply does one hell of a Tosca.
The fulcrum, once again, is the full-blooded, richly textured musical direction of Victor DeRenzi. As justly celebrated as Sarasota’s artistic director is for his Verdi conducting, I’m not sure he isn’t an even finer interpreter of Puccini. This was a riveting Tosca with a combustible second act, DeRenzi and the singers ratcheting up the tension to an almost unbearable level.
Yet in addition to the dramatic fire, DeRenzi is inspirational in the subtler aspects of the score and its quiet moments. Witness his handling of Tosca’s actions after Scarpia;s death, or his direction of the long introduction to Act 3, tolling bells and shepherd boy in faultless balance and accord. This truly is world-class Puccini conducting.
Kara Shay Thomson made a spectacular company debut as the tempestuous title diva. The American soprano has a big, bright instrument, gleaming on top and was fearless in her singing, as when she relates to her lover her murder of Scarpia. Yet she also brings delicacy to the role, with a magnificent, deeply felt Vissi d’arte. Thomson is a terrific actress as well, embodying the mercurial Tosca’s jealousy and mood-swings in Act 1 and her shocked horror at the final scene.