Set in 1970s Italy as exposited in the opening recorded monologue, Tonya and Ryan McKinny’s concept for this modern Tosca was a daring choice that, in short, paid off big time. The opera opened with a film of Cesare Angelotti, played by Cumhur Görgün, running down a hallway to escape the authorities. Görgün, an equally fantastic bass whether singing Puccini or Rossini, was almost unrecognizable from his turn as Alidoro in La Cenerentola earlier this season, switching from the role of fairy godfather to daring political dissident. Owing to the directors’ genius, his entrance transitioning from film to stage was smooth as silk, to the point that one almost felt he was truly emerging from the movie screen. This answered the question of whether the directors’ concept would work. The projections by Adam Larsen were not substitutes for set, as one sometimes sees in present-day productions, but rather existed to help tell the story, which, one might dare say, is how it ought to be.
Enter the Sacristan and Mario Cavaradossi, played respectively by Sergio Martinez and Demetrious Sampson Jr. Martinez’s Sacristan was full of good characterization, perhaps less comical than is sometimes presented, but undeniably leaving an impression. Every other supporting character in this show also performed their roles well, moving the story forward and adding to what the leads were doing.
Sampson Jr.’s Cavaradossi is not one to be missed. It is beautiful beyond compare, which is saying something for Puccini’s already sublime score. He started off with a gorgeous “Recondita armonia,” complete with beautiful playing from the orchestra led by conductor José Luiz Gómez. This moment was magnetic, with the audience left in awe of Sampson Jr.’s crystal-clear tone and high notes that the word “amazing” doesn’t really begin to describe.
Sampson Jr. set the bar high not only for the evening’s singing but also acting, and everyone else in the cast met that bar. Upon Tessa McQueen’s entrance as Tosca, the audience got the image of a film star not only from her fabulous fur coat thanks to Molly Irelan’s costume design, but also from the way she carried herself as a diva throughout the show. On top of that, she had great chemistry with Sampson Jr.
Last to enter and by no means least among these three towering leads was Jonathan Patton as Baron Scarpia. With only an ominous slow-motion video of him hidden behind dark glasses and fedora smoking a cigar prior to his actual entrance, his appearance almost felt like a bat out of hell, scattering the choir and worshippers in the church. It’s here, too, that the audience got a prime example of Chad R. Jung’s lighting design proving to be effective and in service of the story, with blaring red accompanying Scarpia as the devilish villain.
As usual, Patton’s acting was great, to the point that even in his voice he sounded so sincere in his character’s religious hipocrasy. The “Te Deum” at the end of the first act was full of menace and control, and the act ended with a blackout such that only the screen behind the actors was illuminated, a red placard announcing the first intermission.
The second act might have been the most menacing any audience could expect to see from this opera. Opening on a projection of TV screens, one realizes that Scarpia is not only surveilling everyone but with the creepiest possible intent.
Come the torture of Cavaradossi, the McKinnys created more specific torturous images than audiences normally would see, mainly owing to the fact that one could view it on the monitors projected on the screen. Considering that his torture usually happens offstage and out of sight, this was again a bold move that served to drive home the audience’s hatred of Scarpia and later satisfaction at seeing him stabbed to death.
It’s in the second act, too, that McQueen got to own Tosca in her full power. One quality that sets her vocal performance of this role apart is the lack of artificial weight in the tone. It is a trap that can be all too easy to fall into, and McQueen did not, at any time. That said, she still managed to convey the urgency of the dramatic situation here in her voice. She just didn’t lose the shimmer that she had in the first act. And at the pivotal moment of “Vissi d’arte,” dressed in a lovely black and white gown with red gloves, a nod to how this character is usually costumed, she stood up straight and sang. Thanks again to lighting designer Jung, she was the only thing lit on the stage and the audience ate it up as the epitome of a diva moment. So stunning was her delivery, too, that at least one audience member felt compelled to stand to applaud.
For every “Vissi d’arte,” there must follow a Scarpia murder, and this was perfectly choregraphed and coordinated by fight and intimacy coordinator Casey Kaleba. Just as the intimacy between Cavaradossi and Tosca felt real, so too did the violence between Tosca and Scarpia.
The third act began with a thrilling “E lucevan le stelle” from Sampson Jr., with meaning and intent behind every gesture and word. McQueen got into her chest voice in this act, too, and the couple got to have a sweet and tender moment before Cavaradossi’s execution, again letting the audience take in their chemistry. Not only that, but in the final scene when McQueen was onstage by herself singing, lightning and thunder decided to strike, only adding to the drama in this open-air theater.
Along with the great direction, costumes, and lighting of this show, credit must also be given to Lawrence E. Moten III for creating a set design that made the world of Tosca feel like a movie set while still remembering that it is a stage production, seamlessly bridging the gap between mediums. The only set piece that felt out-of-place was the portrait of Mary Magadlene in the first act. Otherwise, this production ought to be shared across the globe as a unique take on Tosca that blends the golden age of Italian filmmaking with what might be called the golden age of Italian opera. An excellent way to end Wolf Trap Opera’s 2026 season.
Maggie Ramsey
Tosca
Music by Giacomo Puccini
Libretto by Luigi Illica and Giuseppe Giacosa
Cast and Production Staff:
Cesare Angelotti – Cumhur Görgün; Sacristan – Sergio Martinez; Mario Cavaradossi – Demetrious Sampson Jr.; Floria Tosca – Tessa McQueen; Baron Scarpia – Jonathan Patton; Spoletta – Wayd Odle; Sciarrone: Søren Pedersen; Shepherd – Calista Ro-Jei Smith; Jailer – Christopher Gray
Conductor – José Luis Gómez; Directors – Tonya & Ryan McKinny; Scenic Design – Lawrence E. Moten III; Costume Design – Molly Irelan; Lighting Design – Chad R. Jung; Projections – Adam Larsen; Hair & Makeup Design – Anne Nesmith
Assistant Conductor – David Hanlon; Principal Coach & Organ – Blair Salter; Chorus Master & Coach – William Woodard; Coach – Tzu Kuang Tan; Italian Diction – Domenico Boyagian; Supertitles – Gabrielle Žemaityté; Fight & Intimacy Coordinator – Casey Kaleba; Assistant Director – Madeleine Snow; Production Stage Manager – Gina Hays; Assistant Stage Managers – Arturo Fernandez Jr., Zoe Steenwyk
Filene Center at Wolf Trap, Vienna, VA, August 7, 2026
Top image: Jonathan Patton (Baron Scarpia) with Chorus
All photos by Cory Weaver.