Tosca, the name is so simple but the opera behind it is so complex. The opera was situated in none other than Lincoln Center. It looked great outside too, but I underestimated how big it was inside. The opera hall was huge and grand, with rows of balconies lining away all to the top to the ceiling. The chandeliers were quite pretty, but the amazing part was that they moved. They retracted back into the ceiling when the opera started.
Giving a very brisk outline about the opera, I thought Tosca was something I had never seen before. Granted I never saw an opera before, but this was unlike any production I had ever seen. The orchestra meshed really well with the singing from the cast; it resonated and mirrored the setting around the characters or what the characters were actually singing. A great example of this is the motif that occurs with Angoletti; it was distinguishable, frantic, and a panicky tune that played whenever Angoletti appeared onstage or was even mentioned. The cast was great as well; they performed their lines flawlessly. Tosca, in particular, did a great job of portraying a jealous yet devoted diva to Cavaradossi.
In the end, I was stunned by the performance. There was nothing in my life that could measure up to this opera. It’s so much of a surreal experience when you are actually at the opera, as opposed to watching it via video. The applause was well deserved at the end; I clapped enthusiastically throughout the cast’s as well as the conductor’s bows. I also clapped for the orchestra, who silently left the stage without bowing. It’s a shame, because they really did a great work with the music in Tosca. I walked away from the Lincoln Center into the cold and brisk night, but inside, I was bubbling with excitement of the drama that can only happen in Tosca.