And it was thrilling to be close enough to the performers to see their faces and appreciate their unmiked voices.

"Tosca" is a story of violently passionate love and betrayal set in Rome in 1800, which might seem a tad corny, except that these performers can really act.

The music is sublime, there are moments of sly humor and the historical context provides a fascinating layer of depth to this simply staged, but compelling production. My favorite part of the set was a series of photo backdrops taken by Roald Simonson, which were really spectacular.

Tenor Jay Query, who plays the painter Cavaradossi, seems rather muted in the first of three acts, especially compared to the fiery Wayne. But Query warms to his role as a passionate defender of love and the revolution by the time of his death. The final love duet is both visually and musically striking: Tosca in red velvet with white lace and Cavaradossi in a blood-speckled white coat, both singing their hearts out.

The villain of the piece is a baritone, the corrupt chief of police, Baron Scarpia. Tosca makes a devil's bargain with Scarpia, who lusts after her and is actually incited by her loathing. After agreeing to succumb to his demand for intimacy, she sings a celebrated aria, "Vissi d'arte," a gorgeous melody with light orchestral accompaniment to highlight her voice.

Terry Cramer's expert stage direction is especially evident in the complex role of Tosca. One moment she is wildly plunging a knife into the chest of the cruel Scarpia, and in the next, she coos tenderly to her dying lover, Cavaradossi.

Two baritones wanted the role of Scarpia, so they agreed to trade off. Opening night had the agile and engaging David Miller in this role.

The following evening I enjoyed the emotional breadth, and beautiful Italian accent, given to the role by Phillipe Damerval, who twists a streak of debonair charm into this mocking and sadistic character. Damerval's voice works especially well with Wayne's in the scene in which he sings of "spasms of love, spasms of hate," stirring up Tosca's passions to a near frenzy.

Conductor William Todd Hunt pared down the full orchestra from Puccini's score to fit the Twisted Fish's relatively small space. Overall, the quality of the sound is smoothly polished. The entire string section is upheld by Franz Felkl's violin and Julia Bastuscheck's viola. To fill out the string sound, Hunt included Sue Kazama on piano. The original score calls for a half dozen percussionists, but the whole job is handled with aplomb by Lee Hacker.

Emily Kane

The considerable talent in Juneau has rendered yet another unlikely venue into an effective and intimate stage.