There is no recession. Americans are wealthy and physically fit. Arts organizations are well-funded and well-endowed. “Box office” opera is an afterthought because most productions are attended by virtually packed houses.

A fantasy, right? Not here in Santa Fe. The Opera just concluded its 2012 season – a smashing success. America’s most spectacular setting for grand opera was universally praised for a mainstage repertoire that included Szymanowski’s “King Roger,” Richards Strauss’ “Arabella,” Rossini’s “Maometto II,” Bizet’s “The Pearl Fishers” and Puccini’s “Tosca.” The Puccini is the only work that could be called “basic repertoire,” and I was able to attend the final performance.

This adaptation of Sardou’s hugely-successful 1887 play “La Tosca” debuted in 1900 and has been an audience favorite ever since. In every way, Santa Fe’s production was faithful to the vision of the theatrically-obsessed Puccini. Scenic and costume designer Yannis Thavoris gave us beautiful sets that often distorted what was up, down, left or right – an effective suggestion of Rome’s oppressive political climate in 1800. Stage Director Stephen Barlow made sure that his performers were in the right place with movements that were always justified by the action. He took full advantage of the comedic moments inherent to Act I, a devise that made the gruesome tragedy that would ensue that much more agonizing to behold.

“Tosca’s” ultimate success or failure rests upon the vocal and dramatic performances of its three principal characters. As Floria Tosca, the diva who is forced into tortuous choices to save her lover, Amanda Echalaz soared above everyone with a beautiful but appropriately edgy soprano. Her voice alone was able to carry her character. Tenor Brian Jagde as Tosca’s beloved Mario Cavaradossi, produced beautiful sounds and a realistic character but was at times vocally overshadowed by Echalaz. The bad guy, Baron Scarpia, was an excellent theatrical creation by Thomas Hampson. His lyric baritone gave one of opera’s greatest villains an unnerving vocal beauty while passing over some the character’s gritty edge.

The luscious but powerful score was generously rendered by the opera’s orchestra as the company’s chief conductor, Frédéric Chaslin, did a superb job of supporting his singers.

The setting of the Santa Fe Opera is beautiful beyond description rising out of the desert just north of the City. It is a required pilgrimage for any opera or music lover. Next season’s lineup includes company revivals of Verdi’s “La Traviata” and Mozart’s “The Marriage of Figaro,” new productions of Offenbach’s “The Grand Duchess of Gerolstein” and Rossini’s “La Donna del Lago,” and “Oscar,” a highly-anticipated world premiere by composer Theodore Morrison and librettist John Cox based upon the life of Oscar Wilde.