This is a Tosca who is a dupe, a victim both of Scarpia's lust and of her own emotional immaturity. In her United States debut, Italian soprano Adriana Morelli sketches out a good Floria Tosca, if not a great one. His dismissal of Tosca's pleading for the life of her lover Caravadossi, with a sneering "Tosca was never more tragic on stage" and a disdainful clap, is, dramatically, the most powerful moment in the opera. Sardou's drama, on which Puccini's libretto is based, reaks of sordid violence, and bass Justino Diaz, as the corrupt and degenerate Baron Scarpia, is an incarnation of evil, both vocally and dramatically. With sets and costumes designed for the Lyric Opera of Chicago, the production brings together the same team of tenor Placido Domingo, director Gian Carlo Menotti and conductor Rafael Fruhbeck de Burgos that collaborated here two years ago in the world premiere of Menotti's "Goya." THE WASHINGTON Opera's season has opened at the Kennedy Center's Opera House with a fittingly grand production of Puccini's "Tosca."
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