Teatru Manoel and the Valletta Cultural Agency joined forces to stage four performances of Giacomo Puccini’s Tosca with the participation of the Malta Philharmonic Orchestra and KorMalta, as well as the Malta School of Music. The production was conceived and staged by world renowned Argentine tenor José Cura, who also starred in the role of Cavaradossi. Costumes were designed by Silvia Colazzuol, who also collaborated as Co-Set Designer and Stage Manager.

José Cura gave ample explanation of the scenic and directorial choices in the booklet made available to the audience at the performances. Meanwhile, adapting an opera of considerable size like Tosca in the “baroque” space of Teatru Manoel was a risky, if not daring, operation. Still, Cura was able to find the right solutions starting with the idea of placing the orchestra behind the scenes without incurring any loss in phonic balances. The First Act was not set in Sant’Andrea della Valle but in the Oratory of Saint John’s Co-Cathedral, and the second at the Inquistor’s Palace in Birgu, instead of Palazzo Farnese. Homage to Malta was also made explicit by the change of origin of the wine that Scarpia sips in his study, no longer “from Spain” but, as sung by Carlos Almaguer, who interpreted the role, precisely “from Malta”. Considering Malta’s operatic tradition, it seemed a very apt choice and one that did not detract from the dramaturgy and even less from the music.

The Malta Philharmonic Orchestra gave proof of its qualities, with points of excellence in the horns and in the solo clarinet, entrusted with the introduction of the famous aria “E lucevan le stelle”.  The direction of conductor Mario De Rose seemed attentive to every aspect of the score, supporting the vocal performers, albeit in the aforementioned backstage condition, whilst maintaining the dramatic mood that the work requires.

Soprano Tanya Ivanova performed the role of the protagonist. Praise is due for her vocal interpretation, even if a clearer characterisation on the dramaturgical side would have been preferred. Ivanova has portrayed a Floria Tosca genuinely in love with her Cavaradossi but less incisive in facing Scarpia in the Second Act where, also in terms of defining the character and, therefore the vocality, a change of pace towards greater dramatic intensity would have made greater impact.

The performance of the Mexican baritone Carlos Almaguer was of great depth, equipped with a remarkable vocal line and a perfect “fisique du role” for Barone Scarpia. The artist showed all his interpretative ability by defining the character in all its nuances without exceeding, as often happens, in satirical excesses in the scene of the seduction-blackmail of Tosca. Almaguer’s experience and high professional level won over the audience, who gave him enthusiastic cheers at the end of the second act.

But the real protagonist was José Cura: set designer, director, and performer.  The Argentine tenor, one might say the all-round musician, has poured into this Maltese operation all his charisma and the experience of a career that reached stellar peaks in some of the most fearsome roles in the entire repertoire. The audience was undoubtedly positively surprised by his vocal quality, which till this day, in spite of a 40-year career, preserves intact the beauty and incisiveness that were - and still are today - the best qualities of Cura. As interpreter, Cura held in absolute mastery every nuance of his character and skilfully calibrated every moment of the story by managing his vocal medium with perfect domination. The “Vittoria” of the second act remains imprinted in the audience’s memory, and the two great arias that Puccini reserves for the tenor in this work are no less. To him were rightfully reserved enthusiastic ovations from the audience.

Applause must also be reserved for the other interpreters starting with Alan Sciberras’ Spoletta whose significant stage presence perfectly translated the assassin enslaved to power. Louis Cassar as Angelotti, Albert Buttigieg as Sacrestano, Jonathan Mohnani as Sciarrone, and Nadia Vella whose voice introduced the Third Act as the shepherd boy, also made quite an impact in their roles. KorMalta, under the direction of Riccardo Bianchi, in very small ranks given the relative space available on the scene, performed well even if for the Te Deum that closes off the First Act, a greater phonic depth would have been preferred.

Considering the well-deserved success of this production, we hope that the Maltese and international public will be able to return to attend a new production in the future that once again brings opera to Malta, reviving a tradition that is felt and lived with great skill and enthusiasm.