The final act, set on the parapet of the Roman Castel Sant’Angelo with stars sparkling in the pre-dawn sky, is slowly paced, leaving us to wait again for the tightly twisted ending. If only Mario’s tortured screams had been as realistic as Scarpia’s jolting death spasms. Scarpia’s death was realistic drama, true verismo. As Toomey sang the epic “Vissi d’arte,” (I Lived for Art) we were left soaring with her lines, yet deep with her sense of abandonment.Īlthough she submitted to Scarpia’s demand in order to save Mario, Toomey was a fierce Tosca delivering that final knife thrust when she had her chance. We never had to wait too long for the next turn of the screw, but we were holding our breath anyway. Scarpia’s violence is no longer an undertone as he coldly orders torture and squeezes submission from Tosca to the sound of Mario’s screams. She also gets her revenge.Stephen Gaertner as Scarpia, Levi Hamlin as Spoletta in Sarasota Opera's "Tosca."Īct II is one of the most riveting scenes in all of opera. Tosca's aria Vissi d'arte is a classic of bel canto singing. Petersburg Tosca, Zambalis is joined by David Gustafson as the painter Cavaradossi and Todd Donovan as the corrupt police chief Scarpia. She was the Witch in Humperdinck's Hansel and Gretel and Princess Eboli, a mezzo-soprano role, in Verdi's Don Carlos. In recent years, Zambalis has performed in two Sarasota Opera productions.
I thought Samson and Delilah was amazing." "The production values get higher and higher.
"In the three and a half years I've been here, I've seen this company grow in just that short time," she said. She moved home to be with her aged mother, and has liked what she has seen when attending St. Petersburg Junior College before going on to FSU and an opera career. Zambalis now lives in Clearwater, where she spent much of her youth, graduating from Clearwater High School and St. She traveled the world to sing at many leading opera houses, such as Houston Grand Opera, Seattle Opera, Deutsche Oper Berlin and La Scala in Milan. For Tosca to be Zambalis' favorite role is saying something, because the soprano has a glittering resume that includes many highlights over the past 30 years, such as originating the role of Cherubino in the 1991 premiere of John Corigliano's The Ghosts of Versailles at the Metropolitan Opera.
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