Toi Toi New York City Opera Renaissance

For seventy years (1944 to 2014), the New York City Opera had been an influential organization as well as a launching board for important figures in the opera community. The list is extensive, but singers such as Placido Domingo, Beverly Sills and José Carreras, all experienced great strides in their careers on the NYCO stage. Like many New Yorkers and opera lovers, I have a personal connection with the NYCO. The NYCO has always represented a safe space where I could learn about history, music and performance. I reminisce on the flawless performances and impressive productions they offered. As an audience member, I admired how the creative team would work together to present incredibly conceptual productions. Despite the efforts of the NYCO community, this great organization was forced to file for bankruptcy and cancel all seasons beginning with the 2013–14 season.

I am of the idea that failure can serve as an educational experience resulting in something much greater. Under the leadership of the newly formed NYC Opera Renaissance with General Director Michael Capasso and the board of directors, the New York City Opera has been relaunched with an exciting and new production of Puccini’s Tosca at the Rose Theatre at Jazz at Lincoln Center.

Tosca was the first production presented by the NYCO in 1944 and a wonderful way to start the new company. The production was well done, classic yet refreshing. Based on my former experience at the NYCO, I had expected a more cutting edge, modern take on Tosca, but was delighted to see a more traditional approach. I read that the Casa Ricordi gave NYC Opera Renaissance the rights to recreate Adolf Hohenstein’s original set and costume designs from the 1900 Rome premiere.
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In the role of the diva Tosca, Latonia Moore was truly the highlight of the evening. It is clear that she has great command of her voice and was successful in using her sensibility to approach and embody the role. Raffaele Abete (Mario Cavaradossi) and Carlo Guelfi (Baron Scarpia) sang with a solid technique but were often outshined by Moore. I felt fortunate enough see this cast at the closing night of Tosca.

The Artist’s Visa started in part because of what happened to the NYCO. I believe there is a great need to talk about the importance of arts and culture in our society and what we can do to support it. I was excited to see such a decent turnout at the final performance of Tosca, despite the inclement weather as a result of snowstorm Jonas. Despite mixed reviews in the media, Tosca presents the beginning of a new chapter for the NYCO and I am excited to see what is to come.