Overview

Lust, betrayal, murder — nothing says drama quite like Puccini’s Tosca, one of the most popular operas of all time. Amid an unstable 1800s Italy, fiery diva Tosca must fight to save her rebellious lover from an evil police chief. This all new MOT co-production with the Cincinnati Opera perfectly sets the stage for an exhilarating ride of emotional extremes.

Stephen Lord – “The combination of a new production and the authentic Italian spirit Maestro Valerio Galli brings to this familiar work will create an exciting dynamic for this ‘shabby little shocker!’”

Music by Giacomo Puccini
Libretto by Giuseppe Giacosa and Luigi Illica
Sung in Italian with English supertitles projected above the stage.

Running time: 1 hr 50 min + two 25-min intermissions

Patron Reviews

Artists

Tosca

Alexia Voulgaridou

April 7, 11, 14

Critically acclaimed Greek soprano Alexia Voulgaridou is a regular guest at the most prestigious European and American opera houses, concert halls and music festivals. Performance highlights include Mimi in La Bohème with The Royal Opera, the Bavarian State Opera and the San Francisco Opera; Cio-Cio San in Madama Butterfly with The Royal Opera, the Hamburg State Opera and the Berlin State Opera, and Marguerite in Faust with The Royal Opera and the Hamburg State Opera. Additional highlights include the title role in Manon with The Royal Opera as well as Nedda in I Pagliacci and Lucrezia in I Due Foscari with the Hamburg State Opera. She studied in Athens and at the Munich Conservatory. Future performances include title role in Tosca at the Stuttgart Opera and the title role in Francesca da Rimini at the Opera National du Rhin.

Tosca

Alexia Voulgaridou

April 7, 11, 14

Tosca 4-15

Kelly Kaduce

April 15

Kelly Kaduce is a soprano with a warm and rich voice, stunning beauty, and superb acting ability. For her creation of the title role in Anna Karenina, Opera News proclaimed her “an exceptional actress whose performance was as finely modulated dramatically as it was musically… and her dark, focused sound was lusty and lyrical one moment, tender and floating the next.” For her Boston Lyric Opera debut in the title role of Thaïs, Opera News observed, “Kaduce sings with bell-like purity and silvery sweetness, and she suspends her legato with an effortless, sensual spin. A born actress, Kaduce is also a masterful illuminator of text.”

Tosca 4-15

Kelly Kaduce

April 15

Cavaradossi

Andrea Carè

April 7, 11, 14

Italian tenor Andrea Carè makes his Michigan Opera Theatre debut as Cavadarossi in Tosca. He made his Royal Opera debut in 2013 as Ismaele in Nabucco followed by Don José in Carmen. He has also performed recently with the Royal Swedish Opera, Opéra national du Rhin, Bolshoi Theatre, Vancouver Opera, La Monnaie Brussels, the Tanglewood Festival, Teatro Real Madrid, the Canadian Opera Company, Palau de les Arts Valencia, Gran Teatre del Liceu and Opera National de Bordeaux. His signature roles include Cavadarossi in Tosca, Don José in Carmen and the title role of Don Carlo. He studied at the Giuseppe Verdi Conservatory in Turin and was a pupil under Luciano Pavarotti and Raina Kabaivanska. Future engagements include roles in Tosca with Teatro Regio Parma and Finnish National Opera, Madama Butterfly with Wiener Staatsoper, La Gioconda with La Monnaie Brussels and Liceu Barcelona and his Metropolitan Opera debut.

Cavaradossi

Andrea Carè

April 7, 11, 14

Cavaradossi 4-15

Noah Stewart

April 15

Lauded for his distinctive timbre, tenor Noah Stewart returns to Michigan Opera Theatre as Cavadarossi in Tosca. His previous MOT performances include Pinkerton in Madame Butterfly, Nadir in The Pearl Fishers, Rodolfo in La bohème and Ismael in Nabucco. Since training at the Juilliard School, Noah’s debut album for DECCA became a major success in the United Kingdom, topping the classical charts for seven weeks.  In spring 2012, he made a critically-lauded debut at The Royal Opera as Hassan in Judith Weir’s Miss Fortune. North American engagements include the title role in Faust at Atlanta Opera and Rodolfo at Florentine Opera Company and New Orleans Opera. Outside the United States, he has sung with the Scottish Opera, Göteborg Opera, the Bolshoi Opera, Teatro Real and Perm Opera and Ballet Theatre. He is also a guest soloist with The Hallé orchestra, Scottish Symphony, Royal Philharmonic Orchestra, Gulbenkian Symphony and Boston Symphony Orchestra. Noah’s future engagements include making his debut at Nederlandse Reisopera in Tosca.

Cavaradossi 4-15

Noah Stewart

April 15

Scarpia

Greer Grimsley

Bass-baritone Greer Grimsley returns this season to Michigan Opera Theatre as Scarpia in Tosca, a role he has performed previously with San Diego Opera, The Metropolitan Opera, Los Angeles Opera, Opéra de Montréal, Portland Opera, Pittsburgh Opera, Opera Colorado, and Seattle Opera. Grimsley is also internationally recognized as an outstanding singing actor and one of the most prominent Wagnerian singers of our day. In addition to MOT’s production of Tosca, this season Grimsley reprises his signature role of Wotan in Der Ring des Nibelungen with San Francisco Opera, sings the title role of Macbeth with Opera San Antonio, Kurwenal in Tristan und Isolde with Gran Teatre del Liceu in Barcelona, Pirate King in Pirates of Penzance with San Diego Opera, Orest in Elektra in Houston Grand Opera, and excerpts from Die Walküre with Pacific Symphony. Future engagements through 2020 include multiple returns to Houston Grand Opera, Dallas Opera, and The Metropolitan Opera.

Scarpia

Greer Grimsley

Angelotti, Jailer

Erik Van Heyningen

Bass-baritone Erik van Heyningen makes his debut at Michigan Opera Theatre as a Studio Artist. He has sung with opera companies across the country, including performing as a Richard Gaddes Festival Artist and a Gerdine Young Artist with the Opera Theatre of Saint Louis. Erik performed as an Apprentice Artist at Santa Fe Opera this summer. An avid recitalist, Erik has appeared in recital in cities such as Toronto, San Diego, Boston, and New York. This season, Erik will perform Count Ceprano in Rigoletto, Figaro in The Marriage of Figaro (cover), Ernest Hemingway in Ricky Ian Gordon’s 27 and Angelotti and the Jailer in Tosca at MOT.

Angelotti, Jailer

Erik Van Heyningen

Sacristan

Dale Travis

Dale Travis has become one of the most sought after bass-baritones in America today. His repertoire encompasses 50 roles over 25 years in styles including Mozart, Donizetti, Rossini, Strauss, Puccini and Wagner. He has performed with the most prestigious opera companies in the world, with recent roles in Tosca and The Merry Widow at Lyric Opera of Chicago; Arabella, The Magic Flute and Albert Herring at Santa Fe Opera, The Marriage of Figaro and Makrpolous Case at the San Francisco Opera; The Daughter of the Regiment at Opera Theatre Saint Louis, A View from the Bridge at Teatro dell’ Opera in Rome, La Cenerentola at Opera Colorado and Vec Makropolous at the Metropolitan Opera. Future engagements include Frank in Die Fledermaus with the Seiji Ozawa Music Academy and returns to the Glimmerglass Festival and the San Francisco Opera.

Sacristan

Dale Travis

Spoletta

Michael Day

Tenor Michael Day makes his Michigan Opera Theatre debut this season as a Michigan Opera Theatre Studio Artist. His performance credits include singing with Indiana University Opera Theatre, the Opera Theatre of Saint Louis, Indianapolis Pro Musica, the Bloomington Chamber Singers and Utah Festival Opera, where he worked as a young artist. He recently returned to the Opera Theatre of Saint Louis this summer as a Richard Gaddes Festival Artist, singing the role of Al Joad in a new performing version of Ricky Ian Gordon’s The Grapes of Wrath. He holds a bachelor’s degree in music education and vocal performance from Indiana University and is currently completing a master’s degree from the university. This season, Michael will perform Don Basilio in The Marriage of Figaro, the dual role of Pablo Picasso/F. Scott Fitzgerald in Gordon’s 27 and Spoletta in Tosca at MOT.

Spoletta

Michael Day

Sciarrone

Harry Greenleaf

Wixom, Michigan native Harry Greenleaf is Michigan Opera Theatre Studio’s resident baritone. He made his debut with Michigan Opera Theatre in 2016 in the role of Top in The Tender Land. His credits with MOT also include Le Bret in Cyrano, Jack Wallace in The Girl of the Golden West and Morales in Carmen. He has been a Studio Artist with the Wolf Tap Opera Company, an Apprentice Artist with Des Moines Metro Opera and a Young Artist with the Glimmerglass Festival. He holds a Master of Music degree from the University of Cincinnati College-Conservatory of Music and is an alumnus of the Michigan State University College of Music. This season, Harry will perform with MOT as Marullo in Rigoletto, Sciarrone in Tosca and the roles of Leo Stein and Man Ray in Ricky Ian Gordon’s 27.

Sciarrone

Harry Greenleaf

Conductor

Valerio Galli

Italian conductor Valerio Galli recently named “Best Top 10 conductors under 40 in Italy” returns to MOT for his third production. Recent debuts include: Turandot with San Diego Opera; La Rondine at Teatro Maggio Musicale Firenze, La bohème at Teatro San Carlo Napoli and Teatro Regio di Parma; Madama Butterfly in Toulon; Tosca in Bologna and Firenze; Don Carlo, Teatro Carlo Felice Genova; and Pagliacci in Verona. Other performances include: Adriana Lecouvreur for Macedonian Opera; Zanetto and Cavalleria rusticana for Pisa; La Rondine for Fresno Grand Opera; Turandot with MOT, Theater Zhuhai Huafa, China, the Puccini Festival and Pisa; La forza del destino, Pisa; Tosca in Novara, Trento, Pisa, and Rovigo; Il Campanello and Gianni Schicchi in Genova, Rigoletto in Bologna; Carmen at MOT and Novara; La traviata in Mantova. In symphonic concerts, he has performed at the Concertgebouw Amsterdam, XXII Kecskeméti Tavaszi Festival Hungary, the International House of Music Moscow, Teatro Goldoni in Livorno, Teatro Pavarotti in Modena, Teatro Carlo Felice in Genova, the New Year’s Day Concerts in Lucca and Pisa, the San Marino Symphony Orchestra and inaugurated the 57th Santander Festival. Upcoming, he returns to Naples for Nino Rota’s Il cappello di paglia di Firenze.

Conductor

Valerio Galli

Director

Marco Pelle

A frequent choreographer with Michigan Opera Theatre, Marco Pelle makes his MOT directorial debut in Tosca. Mr. Pelle began his career as a choreographer and was introduced to the opera world by MOT Founder David DiChiera. As an opera choreographer, he has worked extensively in the United States and abroad, including Un ballo in maschera, Rigoletto, Faust, Frida and La sonnambula with MOT. In 2017, he made his directorial debut with Florida Grand Opera, directing and choreographing Un ballo in maschera, described as “FGO’s finest Verdi production in many seasons” by Florida Classical Review. Outside of opera, Mr. Pelle is the resident choreographer with New York Theatre Ballet. He has choreographed for some of the best ballet dancers in the world, including Italian ballerina Alessandra Ferri on her comeback show The Piano Upstairs and Paris Opera Ballet étoile Isabelle Ciaravola, who performed his work Esprit Libéré. He also choreographed Passage, a short movie which opened at the Venice Film Festival for which he later created a theater version. Mr. Pelle is a 2016 recipient of the PrimiDieci USA Award, under the patronage of the Italian Ministry of Foreign Affairs, which honors the 10 most successful Italians in the United States today. He is also a 2013 recipient of the SAIE National Award in Italy for his contribution to the arts.

Director

Marco Pelle

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Synopsis

Tosca is a melodrama in three acts with a libretto by Giuseppe Giacosa and Luigi Illica, after Victorien Sardou’s play La Tosca. Named for a singer around whom the events of the opera proceed, Tosca tells the tale of an escaped prisoner, doomed lovers, and a jealous Chief of Police.

Act I

The opera begins with Angelotti, who has just escaped from prison, hiding in the large church in Rome. Cavaradossi arrives to finish his portrait of the Magdalen, which is influenced by the likeness of his beloved Tosca and another woman he has seen in prayer at church. A Sacristan complains of Cavaradossi. Angelotti emerges from hiding and explains to Cavaradossi that he has escaped from the Castel Sant’Angelo, where he had been imprisoned by the order of the Baron Scarpia.

Tosca’s voice is heard and Angelotti returns to hiding. Tosca enters and tells of her jealousy of Marchesa Attavanti (Angelotti’s sister). She suspects that her lover Cavaradossi harbors secret affections for Marchesa Attavanti. Despite her jealousy, Tosca agrees to meet Cavaradossi at his villa after her performance that evening

Tosca leaves. While Cavaradossi and Angelotti plot Angelotti’s escape, they hear a cannon shot from the Castel Sant’Angelo, which indicates that Angelotti’s flight has been discovered. At the same time, the Sacristan returns with the (ultimately false) news that Napoleon has been defeated at Marengo and there is a celebration in the church. Scarpia appears with his agents, searching for Angelotti. Suspicion falls on Cavaradossi after Scarpia finds clues that Angelotti has been in the chapel. Tosca returns and Scarpia arouses further jealousy in her by insisting one of the clues—a fan found in the chapel—belongs to Marchesa Attavanti. After Tosca leaves suddenly, Scarpia orders that she should be followed. He gloats of the possibility that he could capture the fugitive and win the favors of Tosca.

Act 2

Act 2 beings in Scarpia’s apartment where he eats alone while Queen Carolina entertains downstairs. Cavaradossi has been arrested and is interrogated. Tosca, who had been singing for the Queen, enters while Cavaradossi is being tortured in the next room. Tosca refuses to tell of Angelotti’s whereabouts but the sounds of Cavaradossi being tortured cause her to give away Angelotti’s hiding place in a garden well. Scarpia stops the torture and Sciarrone enters with the news that the Battle of Marengo had been won by Napoleon.

Scarpia declares that Cavaradossi is to be shot at dawn, but he offers to release Cavaradossi if Tosca will give in to his demands. Spoletta then enters with the news that Angelotti has killed himself. Tosca accepts Scarpia’s terms and he decides that Cavaradossi will be given a mock execution. Tosca asserts that Scarpia write her and Cavaradossi a safe-conduct. Just as he finishes doing so, Tosca stabs him and flees.

Act 3

At the Castel Sant’Angelo, Cavaradossi prepares to die. Tosca enters and explains that there will be a mock-execution, after which they can escape together. However, Scarpia has his revenge posthumously, as his orders did not insure a mock execution and Cavaradossi is shot. Meanwhile, the news of Scarpia’s murder has reached Spoletta, Sciarrone, and other police. They call for Tosca’s blood. Tosca climbs on to the battlements, and crying that she and Scarpia will meet before God, leaps to her death.

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