![]() Lucia Lucas, in her Met debut, made an impression for her robust Angelotti (the American singer is a transgender baritone). Lučić seemed to take special delight in terrorizing a new Tosca, especially one as dramatically acute as Kurzak’s tempestuous diva. His penetrating stare and lascivious leer are terrifying. Lučić is the blood-thirstiest Scarpia around. The tenor isn’t only lithe, but nimble: He somersaulted across the stage after retrieving a bouquet of flowers tossed at Kurzak that went astray during the curtain calls. Alagna’s “Recondita armonia” was lyrical and rhapsodic, his “E lucevan le stelle” impassioned and glowing. #Tosca opera met plus#For this performance, he sang with ardor and refinement, plus the vocal punch that has become his calling card. It’s been over 25 years since Alagna’s Met debut, and while time hasn’t stood still, he still cuts a dashing figure on stage. Her “Vissi d’arte” ticked all of the boxes. She does, however, have the requisite vocal allure, and with conductor Yannick Nézet-Séguin at his most attentive and accommodating, balance was never an issue. With her essentially lyrical instrument, the Polish soprano is never going to please those who value vocal size above all else in the role. ![]() Only moments before, Kurzak and Alagna had sung while lying together in one another’s arms on a narrow settee - a feat few of their peers could execute so effortlessly. In his jealous fixation with Tosca, Scarpia imagines her “supple as a leopard,” entwined with Cavaradossi. ![]() There were no histrionics, however, just the natural expression of fear and desperation that anyone would have when faced with Željko Lučić’s demonic Scarpia. In Act II, the predatory Scarpia describes Tosca as being too beautiful, and Kurzak certainly was that, as well as tempestuous, vulnerable and glamorous. In Act I, she was befittingly coquettish and playful with her real-life husband, Roberto Alagna as Cavaradossi. ![]() And with Aleksandra Kurzak singing the title role for the first time, they weren’t disappointed.įor those who like their Tosca stalking the stage, radiating passion and fury, Kurzak obliged. Carfizzi is a keeper, but audiences don’t come to Tosca to hear a Sacristan, regardless of how entertaining he is. Puccini’s Tosca returned to the Metropolitan Opera for the third time this season with a new cast save for Patrick Carfizzi’s Sacristan. Aleksandra Kurzak and Roberto Alagna in “Tosca.” Photo: Ken Howard/Met Opera ![]()
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