Puccini was captivated by Sardou’s La Tosca, performed in French by Sarah Bernhardt, so much so that, despite not understanding a word, he composed his opera around it. He even climbed Castel Sant’Angelo at dawn to transcribe the pitches and rhythms of the bells, which he faithfully recreated in the Act III prelude. While critics initially dismissed it as “a shabby little shocker” due to its violence, the opera’s enduring popularity proves them wrong.
This may be the last run of Jonathon Kent’s superb 2006 production, originally designed for Welsh bass-baritone Sir Bryn Terfel as Scarpia. Paul Brown’s imposing sets, paired with the opera’s brutal orchestration, highlight the oppressive weight of Church and State. Compared to David McVicar’s recent production for the Met, this version excels in detail. For instance, the two-tier Act I set and the crushing ‘Scarpia’ chords emphasize the dominance of institutional power, reducing Tosca and Cavaradossi to pawns. The Act I finale’s ‘Te Deum’ is especially overwhelming.
A gripping psychological drama of lust and political manipulation, Tosca is set against the backdrop of Napoleon’s defeat at Marengo on June 17, 1800. Tosca, a passionate diva, is driven by love for Cavaradossi, an artist with liberal ideals, while the ruthless Chief of Secret Police, Scarpia, seeks to destroy them both. The story draws on real historical figures, apart from the fictitious “uccisione simulato” (simulated execution) of Palmieri.
Bryn Terfel returns as Scarpia, delivering a powerhouse performance. His menacing presence and chilling portrayal make him a truly terrifying antagonist. While his voice has slightly declined, Scarpia’s role doesn’t require bel-canto singing but demands linguistic precision, particularly in his snarling delivery of lines like “tre sbirri, una carrozza” (three cops, one carriage). Though some moments in the Act I finale see him and the chorus overpowered by the orchestra, Korean conductor Eun Sun Kim, music director in San Francisco, could resolve this by moderating the volume.
Welsh-Ukrainian soprano Natalya Romaniw brings a lighter, more feminine interpretation to Tosca, which lends a fresh nuance to her iconic aria, Vissi d’arte. Korean tenor Seokjong Baek, who transitioned from baritone to tenor during lockdown, makes a compelling Cavaradossi. His chemistry with Romaniw is palpable, and their voices blend seamlessly. Baek’s dramatic vocal breaks, such as in Recondita armonia, and his poignant delivery of E lucevan le stelle are standouts. His expressive phrasing and suspended notes bring emotional depth to the role. Notably, Baek’s portrayal suggests he genuinely believes in Scarpia’s promise of freedom, adding an intriguing layer to his character.
The supporting cast excels too. Italian bass Maurizio Muraro is a standout Sacristan, while Welsh tenor Aled Hall’s menacing Spoletta hints at becoming Scarpia’s successor. Jette Parker Artist Ossian Huskinson impresses as Angelotti, showcasing great promise with his commanding voice.
This production is a must-see, blending dramatic weight, exceptional performances, and unforgettable music to deliver a definitive Tosca.
Music by Giacomo Puccini (1858-1924)
Libretto Giuseppe Giacosa and Luigi Illica based on Victorien Sardou’s play La Tosca
Conducted by Eun Sun Kim
Directed by Jonathon Kent
Set by Paul Brown
First performance Teatro Constanzi Rome 14 January 1900
Cast includes Seokjong Baek, Natalya Romaniw, Bryn Terfel, Maurizio Muraro, Ossian Huskinson,
Aled Hall
Running time 3 hours with two intervals
In repertoire until 2nd December 2024