Together, Jagde and Radvanovsky displayed great chemistry through their interactions, as they flirted, bickered, embraced, and followed one another about the stage, all the while retaining the support which let them be heard effortlessly. This dramatic showcase was met with show-stopping and deserved applause.

Her Act two scene with the baron carried with delectable agony as his threats and advances continually bore down upon the diva, with Radvanovsky’s rendition of “Vissi d’arte” being as sonorous as it was heart-wrenching. The quick jealousies of her opening lines soon melted into a playful charm before her duets with Jagde “Non la spiri, la nostra casetta,” and “Qual’occhio.” Soon after, when beguiled by Scarpia, Tosca’s pain heard lovely expression through Radvanovsky’s outraged, biting tones and crisply-rolled consonants. In the title role, Sondra Radvanovsky brought a wealth of interpretive experience as well as gorgeous execution. His Act three aria “E lucevan le stelle,” was a poignant and reflective journey through sweeter memories, with Jagde’s crushed bearing reflected in his uneasy steps as he brought himself across the stage for a kneeling, forte conclusion which drew tremendous applause. Jagde’s ardent vocality was not limited to just the love scenes, as heard in such dramatic moments as when he swears to help Angelotti, and in his confrontations and eventual torture at the hands of Scarpia. These qualities carried into a soaring B-flat conclusion that was both passionate and precise. His aria “Recondita Armonia” opened with cooler, hearty tones before his mention of the unknown woman brought both energy and great affection. In the role of Cavaradossi, Brian Jagde was in excellent form throughout, cutting a fine balance between strength and sensitivity. Under the baton of Maestro Yannick Nézet-Séguin, the evening’s cast was comprised of highly-experienced artists who brought their gifts to bear before a nearly-full house.

David McVicar’s production remaining a breathtaking immersion into the unfolding drama, faithfully capturing the Italian setting in a way that celebrates the work’s verismo nature. 2, 2021, the Metropolitan Opera opened this season’s run of Puccini’s “Tosca” with Sir.

Tosca opera met nyc