Margarethe Wallmann’s staging of Tosca is on its 584th performance, and it is precisely what you would expect from a 59-year-old production. Tosca is radiant in empire-waisted gowns and a dazzling variety of velvet, fur, silk cloaks and coats. All three sets (designed, like the costumes, by Nicola Benois) are imposingly grand, using forced perspective to make the church and Palazzo Farnese seem even deeper than the Vienna State Opera’s large stage. The Te Deum procession includes a colorful crowd bearing ornate props, even though it takes place in a back corner of the stage. An angel wielding a giant sword towers over the roof of the Castel Sant’Angelo in the final act.
Parts of the staging have aged well; others have not. Much of the stage business, including entrances and exits but also the unfurling of banners, the placing of candles, and the signing of crosses, is well timed to match the music. The elaborate sets with steps, platforms, and windows give the singers space to play with. Unfortunately, they don’t take advantage of it. The program includes no credited revival director, and this lack of attention to dramatic detail shows. Scenes are static, with blocking awkwardly drawn out to fill the time created by the music. Some bits of direction are simply clumsy: Tosca whispers to Mario from halfway across the stage, and the guards clearly have ample time to stop her before her suicide jump. A sense of purpose and urgency is missing; instead, the action feels self-consciously theatrical.
As Floria Tosca, Angela Gheorghiu worsens the production’s problems. She is the diva par excellence as usual, but that’s not always a good thing. Her vocal tone has a shimmering spin to it and encompasses a wide dynamic range. Her acting, however, leaves much to be desired. She emotes, with plenty of heaving and sighing, trembling clasped hands, and overly musical screams. Her dramatic choices are both unoriginal and scant, so each thought and feeling is held for too long. The result is unintentionally amusing – a parody of operatic melodrama.
Jorge de León’s Mario Cavaradossi vocally matches Gheorghiu’s Tosca. León has a wonderfully smooth legato, but at first his tone was covered. By the third act, he opened up. His sound soared gloriously during “E lucevan le stelle” and was rich but restrained enough to blend well in his unaccompanied duet with Tosca. León’s onstage demeanor was more natural than Gheorghiu’s, though he, too, screamed in a laughably melodic way.