It’s Kelly Kaduce’s company now. Or at least it could seem that way. In Minnesota Opera’s first three productions of 2016, she portrays all of the female leads. While there’s always been a bit of the repertory company flavor to Minnesota Opera, as favorite performers return with some regularity, even formerly ubiquitous soprano Brenda Harris didn’t have a starring role in three straight productions.
But such is true of Kaduce, as she sang the title role in Antonin Dvorak’s “Rusalka” in January and will return to help premiere Paul Moravec’s “The Shining” in May. But the middle slot in her trifecta came about when, early last week, soprano Csilla Boross withdrew from the title role in Giacomo Puccini’s “Tosca.” That left Minnesota Opera scrambling for a sub in their “A cast,” the one performing most nights of this double-cast three-week run at the Ordway Music Theater. It happened that Kaduce was between “Toscas” at Houston Grand Opera, so the product of Winnebago, Minn., and St. Olaf College just had to learn the staging and mesh with her colleagues.
And she’s done both quite well, judging from Saturday’s opening performance. Kaduce brought fire to her portrayal of a tempestuous diva thrown into the middle of a violent political conflict, each aria impressive in its rich shadings, every duet with hero or villain a fine blend, be its passions romantic or spiteful. Add some imaginative design ideas and a very good night for conductor Anne Manson and the orchestra and you have a solid production well worth experiencing.
That’s not to say that Kaduce dominates the production by any means. While the title character in “Tosca” is one of the great women of opera, she’s opposed by arguably the art form’s quintessential villain, Scarpia, a sadistic, corrupt police chief who prefers “the violent conquest to the willing surrender.” Baritone Stephen Powell sinks his fangs into the role with relish, his powerful, thickly textured voice combining with his creepy smiles and brutish physicality to produce a genuinely intimidating figure.
Yes, Tosca and Scarpia are legendary roles, but that’s less frequently said of Cavaradossi, the painter who is Tosca’s lover. Yet tenor Leonardo Capalbo may cause you to wonder why. He might just be the most passionate singer on stage, whether bringing palpable urgency to his love duets with Tosca or taking on the mantle of defiant revolutionary. And I’ve never experienced a production of “Tosca” that left me thinking that the opening of the third act — when Cavaradossi composes a farewell letter from prison — might have the most beautiful music in the opera. (Kudos to both Capalbo and the orchestra.)
The interesting set by Lorenzo Cutuli is dominated by giant statues of a reclining Madonna and a sword-brandishing angel. While it’s unclear why a giant golden metallic sun and a prison wall are set in motion, they certainly are eye-catching, as is the grand Catholic processional that closes the first act. While some of director Andrea Cigni’s concepts are unclear, he’s certainly helped shape some impressive performances from his leads. And they’re the best reason to catch this intriguing “Tosca.”
IF YOU GO
What: Minnesota Opera’s “Tosca”
When: Through March 26
Where: Ordway Music Theater, 345 Washington St., St. Paul
Tickets: $200-$25, available at 612-333-6669 or mnopera.org
Capsule: A power trio spearheads a passionate “Tosca.”
