Tosca is the second of two new productions by Sir David McVicar with the company this season, following the Met’s season premiere of Bellini’s Norma. Lucic made his Met debut in 2006 as Barnaba in Ponchielli’s La Gioconda and has sung 12 roles with the company, including the title role in Nabucco, Amonasro in Aida, Count di Luna in Il Trovatore, and Iago in a new production of Otello which opened the 2015-16 season. Grigolo made his company debut in 2010 as Rodolfo in La Boheme followed by performances as the Duke in Rigoletto, Nemorino in Donizetti’s L’Elisir d’Amore, des Grieux in Massenet’s Manon, Romeo in the Met’s new production of Gounod’s Romeo et Juliette, and the title role of Massenet’s Werther. All three productions will be transmitted as part of the Live in HD series, making Yoncheva the first artist to have three principal roles in the same HD season. Later this season, she will reprise Mimi in La Boheme and will sing the title role in Verdi’s Luisa Miller. Yoncheva made her Met debut in 2013 as Gilda in Verdi’s Rigoletto, followed by widely acclaimed company role debuts as Mimi in Puccini’s La Boheme, Desdemona in the Met’s 2015-16 season premiere of Verdi’s Otello, and Violetta in Verdi’s La Traviata. As ever, her sound was idiosyncratic and personal, and her characterization was more kittenish than fiery and jealous during a first act that lumbered and flailed at times.Sonya Yoncheva and Vittorio Grigolo star as the heroine Tosca and her lover Cavaradossi, both making role debuts, with Zeljko Lucic as the villainous Scarpia. Radvanovsky rose to the challenge of her first Met Tosca. Radvanovsky in the first act sometimes felt tentative could be ascribed to the conditions.įor her part, Ms. He sang strongly and surely with few signs of stress, his accounts of “Recondita Armonia” and “E Lucevan le Stelle” ardent and stirring, despite the broad tempos adopted by the conductor, Marco Armiliato. Alagna a bit of unevenness under the circumstances, but it proved hardly necessary. Alagna would be wearing the same boots that had served him for the Met’s “Carmen” just two nights earlier. Announcing the change before the performance, Mr.

Alagna, a busy, popular international star, played his first Met Cavaradossi as a last-minute substitute for the tenor Marcelo Álvarez, who was sidelined with a cold. About that: Outdoing his own feat of stepping into a Met “Aida” on short notice in 2007, Mr.

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