REVIEW: Tosca - The Lowry Theatre, Salford

Opera North opened its tour at the Lowry Theatre, Salford after an extremely popular run at Leeds Grand Theatre. As soon as the curtain lifted there was an audible gasp from the audience, Angelotti makes a daring entrance in an impressive structural setting and sets the tone for what will be an exhilarating, fast paced performance.

The sumptuous setting for each of the three acts by set designer Tom Schutt reflects a high level of detail and creativity. He successfully combines a dramatic realism with elements of the abstract in the set, giving it a strong dramatic presence beyond serving the story. In act two for example, Scarpia’s apartment is contemporary and lush, yet visible rigs of lighting on stage, which is a constant in every act, are lit or dimmed according to the emotional intensity at certain moments. This may or may not be a representation of Tosca’s own theatricality as a singer – vissi d’arte she tells us, - I lived for art – but it is highly effective. The set had meaning and impact from the very start.

Opera North’s current vision of Tosca is set in contemporary times, and corresponding imagery in the set, the costumes and props is used very well. Originally, Tosca hears Cavaradossi being tortured in the antechamber adjacent to Scarpia’s apartment – in this version she watches it live-streamed through a laptop computer. These adjustments for a contemporary setting do not distract and are not a gimmick – the setting in contemporary times works really well given the rise of popularism, nationalism and indeed fascism in the politics of our day. These political fears were important to the original Tosca, first performed in 1900 and set then in Napoleonic times, and are as relevant to a contemporary audience today as it was then.

I wondered, though, if a few subtle changes to the libretto could have reflected a contemporary setting without being unfaithful to the original – Cavaradossi recognises Angelotti and conveniently tells the audience who he is – the Consul of the former Roman Republic! This could have been easily re-worded to something more relevant to the contemporary audience. Purists would disagree, but I think if license is being taken with the setting of any opera, and one seeks to resonate with a contemporary audience, then an occasional change of text, in my opinion, is wholly appropriate.

Opera can easily be portrayed solely through its own clichés and rely on the intensity of the lyricism or the melodramatics of the style. Not so with the Opera North. While these conventions were used in a beautifully authentic way last night, the principals were thoroughly three-dimensional. Tosca, played by the Belfast born Giselle Allen, was visually, vocally and viscerally stunning. We all know a woman like Allen’s Tosca and I am not sure that I have ever witnessed a more believable characterisation of an opera character on stage. This was aided by the fantastic wardrobe provided by costume designer, Fotini Dimou. Scarpia, played by Robert Hayward, was truly scary and menacing without the trappings of a moustache twirling villain. His vocal delivery was on point, being able to provide us with a clarity of word and depth of menace. The Tosca/Scarpia scenes had wonderful pace and were nuanced with various shades of terror and toxicity. Tosca with Cavaradossi really shone together in act three where the love between the two characters was brought to life and underlined by the impending tragedy.

The three acts moved along with fantastic pace and focused at times on the story of Tosca as a gripping thriller, and not solely a tragic opera.

The music, under the baton of Jonathan Santagada, was authentic in style and paired perfectly with the interpretations of the singers on stage while also colouring the emotions of the various scenes effectively. The various soloists in the orchestra did a fantastic job – there were a few very tender moments that were delicately performed here, you could see the musicians themselves react to the sentiments that were needed.

When the curtain went up for act three, I could tell immediately from the start how it would all end. I already knew the story, but the wheres and hows were made evident from the set. Yet, nothing would prepare me for that final moment – my eyes suddenly dilated, my heart accelerated with such intensity, tears in both eyes. This is what live theatre is all about, this is what opera is all about. There are moments in art history which you wish you could have witnessed – the premiere of The Rite Of Spring, Aino Ackte in Salome. This version of Opera North’s Tosca must be one of those performances that will be talked about for years to come. Stylish, fierce, relevant, beautiful and unforgettable, Opera North have created a world-class performance that is worth seeing again and again.

Reviewer – Aaron Loughreyon - 15/11/18