San Francisco Classical Voice

Well, the whole point of the scene is that Scarpia's internal sentiments and music are apart from those of the worshippers (although both are celebrating imagined triumphs). Although he hypocritically makes himself one with them at the end, the staging must emphasize the distinction spatially, just as the accompaniment is split between the orchestra and an organ. Stage design has to facilitate action, not impede it.

Latifa Medjdoub's costumes were generally acceptable but in collusion with the costume shop, she made a number of mistakes with her leading lady. Tosca's first act costume was ill-fitting and the choice of colors was unfortunate. Further, if you're going to dress a large woman in an Empire-waist gown, you ought to use a thicker material with some shape to it. This costume's flimsiness worked against the singer and had little texture under the lights.

Kenneth Tigar, the director, can't be excluded from the criticism. Many of his decisions to make the action more visceral and immediate were just lurid and kitschy. For example, the torture of Cavaradossi was projected in shadow on the back of the set during Act II. Angelotti's corpse was hung off the top of the Castel tower at the beginning of Act III and both Cavaradossi and Tosca gave obligatory shudders as they passed it. (One suspects that Scarpia means for Angelotti's corpse to be displayed in a public square where people might actually notice it.) And why did Scarpia suddenly freeze while a spot hit Tosca as she began "Vissi d'arte"? Where's the verismo in that? Scarpia drinks in Tosca's emotions there, and his palpable presence lends a powerful drama to her progression from private prayer to anguished outburst.

The cast, hampered as they were, came through with professional-level performances. Michael Morris was comfortable, and sometimes a bit hammy, in the role of Scarpia. His balance of suavity and ferocity are just what the part needs and he has a strong bass-baritone, which he modulates well. Like Morris, Gabriel Reoyo-Pazos is a well-seasoned actor with excellent stage presence. His Cavaradossi was ardent and vigorous. It's hard to judge the size of a voice in such a small hall, but Reoyo-Pazos has an excellent capacious midrange and controls the passagio between registers well. His high notes are not thrilling, but they are present and accounted for and quite clean. In "Recondite armonia," traditionally the toughest challenge for the tenor, the phrasing was a bit uneven and stiff, but he was much better thereafter.

Tracy Saliefendic has most of the vocal qualities she needs to become a first-rate Tosca. Her voice is large, with good vibrato and secure tone production. At the risk of setting in motion an unstoppable train of events: she needs to be more of a diva in this role. She needs to glide on stage in her first entrance, not pitch herself on as though she's been pushed. She needs more variety of tones in her voice. She has to cajole and caress her lover as well as accuse him. The essence of the role is in Tosca's quicksilver changes and this doesn't come naturally to Saliefendic. She didn't inhabit the role, she simply played the big moments. And the same could be said of her singing: strong but a bit monotonous after a while.

Gary Ruschman was a terrifically cold-blooded Spoletta, Scarpia's right hand man. He sang beautifully and made a strong impression. Dan Morris was a good Angelotti and Rick Williams made an interesting Sacristan. (Tigar's best directorial ideas relate to this character, more important than most people realize.) The orchestra was generally on top of things, despite a few lazy entrances. The chorus and the Ragazzi Boy's Choir were both top- notch. David Sloss presided on the podium with cool efficiency.

With all the talent at their disposal, West Bay Opera should beware of misspending dollars on production values. Sometimes money can cause as many problems as it solves.