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Tosca review

Tosca is one of Puccini’s great masterpieces and the Royal Opera House’s revival of Jonathan Kent’s 2006 production brings the drama to glorious life.

The setting is the eve of the Battle of Marengo as Napoleon’s army caused disarray throughout the city states of Italy. It is a moving tale of love, personal freedom, ideals, betrayal, and redemption. Tosca (Martina Serafin), Rome’s most beautiful opera singer is in love with a painter, Cavaradossi (Marcello Giordani).  Act I, placed in a cramped, split-level chapel with the altar above and the crypt below feels too small for this much drama. However, despite the limited space, the soprano and tenor movingly portray the tensions and placations of two young lovers. But yet, the waters are not calm as political betrayal is underfoot in the form of a dissident escaping from prison and begging Cavaradossi to aid hm in his escape.

Enter the villain. What a vile, putrid individual is the Baron Scarpia (Finnish baritone Juha Uusitalo making his Covent Garden debut). He even purports to prefer to have his women on the run from him rather than swooning in romance for him. It is the fear and hatred that wets his lustful appetite. Charming. Uusitalo was so effectively repugnant in his portrayal of this loathing man that he makes the viewer’s skin crawl.  While chasing down the escaped political prisoner, he arrests Cavaradossi in the two-fold aim of finding the prisoner and sating his lust for Tosca. To save her lover, Tosca must make the ultimate sacrifice to the hated Baron Scarpia.  Serafin’s portrayal of this woman’s inner turmoil was elegant and emotive, her warm voice growing as the anguish in heart at the thought of being betrayed by her beloved god crescendos.

Despite the current cast being a warm up for the power cast to come, their performances were moving. The vocal performances where unusually matched in theatrical capability by this production’s stars. Serafin’s shining star of Tosca evoked great passion, sympathy, and admiration. She gave an accomplished performance. The only critique was that at times she felt encumbered by her overly elaborate costumes. Giordani’s Cavaradossi was a well-rounded, traditionally Italian tenor. Uusitalo’s Scarpia while menacing and imposing in stature, did eventually feel a bit repetitive and caged in by his staging.

Antonio Pappano’s conducting draws Puccini’s precision and passion from this talented orchestra. The elaborate, gothic set designs of Paul Brown are as powerful and dramatic as the plot. The monumental statue, moody settings, and in particular leaving Scarpia’s study nearly bookless were all well-chosen for dramatic effect. I left the production pondering what we are expected to give sacrifice love and how hope, in the face of great adversity, can make believers of us all.

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