Opera North’s Tosca has been widely acclaimed on its current tour and it’s easy to see why. Edward
Dick’s production offers an uncluttered, cogent and powerful view of this familiar work, with strong
performances in all three central roles (not always a given). As a bonus, there’s a versatile set (Tom
Scutt) and some well-judged lighting effects by Lee Curran. All elements work unobtrusively
toward one end.
Puccini’s opera celebrates its 123rd birthday this year: it remains as fast-paced and as
garishly entertaining as it always did. ‘Shabby little shocker’ it may be but, my God, does it work!,
and it’s (still) probably the best illustration of the maxim that the best operas are often made from
the least distinguished source material (Victorien Sardou’s melodrama with the same title is long forgotten). Ilica and Giocosa’s libretto fairly rattles along and Puccini’s score is a technicolour
marvel of melodies and drama.
So, it’s a sturdy work and one that’s difficult to destroy (though I’m sure some have tried),
but that’s not to say it’s easy. The triangular relationship between the idealistic painter Cavaradossi,
his lover the diva Floria Tosca and the corrupt police chief Scarpia is of crucial importance and if
one of the principals is lacking, the thing doesn’t fly. Joining the touring cast in Nottingham only,
Magdalena Molendowska and Andres Presno were a credible pair of lovers, with Presno bringing a
‘hipster’ ambience to Cavaradossi. Apart from some ill-advised ‘sexy antics’ in their first scene,
their duets went well and were powerfully sung. As the third point of the triangle, Robert Hayward
was an appropriately chilling Scarpia, a sort of slimline Harvey Weinstein, who dominated much of
the second act (as a good Scarpia should) with a display of all humankind’s most odious vices. He
also performed one of the most effective death scenes ever seen on the operatic stage.
This was not a high concept production, though scenically we appear to be in the twenty-first century (ear-pieces and laptops - on one of which Tosca is forced to watch Cavaradossi being
tortured - are much in evidence). Director Dick managed to pull off two stunning coups de theatre -
the first during the famous Te Deum at the climax of the First Act, where the stage became
crowded with various well-heeled archetypes and it was made clear to us that the regime which
Scarpia works for is one funded by, and of benefit to, the rich. The second came at the end, when
Tosca’s self-defenestration takes place in a blaze of light.
In the pit, Adam Hickox gave an authoritative account of this imperishable score. This is
well worth travelling a long way to see!
Reviewer - Paul Ashcroft
on - 16.3.23
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