But Kurzak’s softly focused heroine was the kind of performer who transforms before an audience. Tosca, an opera singer herself, is often portrayed as a volcanic personality, a creature made for the stage whose feelings constantly threaten eruption. On Tuesday, Kurzak’s best moments were gentle ones. Wagnerians and Verdians have sung it Mozarteans, too. For a singer who made her house debut in 2004, scaling Olympia’s vertiginous runs and high notes in Offenbach’s “Les Contes d’Hoffmann,” “Tosca” is a departure. Her Tosca arrived at the Metropolitan Opera last March, and on Tuesday, she revisited the title role of Puccini’s tragedy in David McVicar’s attractive, if stolid, production. When Aleksandra Kurzak, a graceful lyric soprano with impressive coloratura, released an album of surprising, heavy repertoire from the Romantic and verismo eras two years ago, she seemed to announce: Staged performances are on the way.
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