Opera North: Tosca

The greater the artistic achievement, the more likely it is that a work will lend itself to be re-interpreted for changing times. For example, directors of another era might well have foregrounded rebellion and political freedom as the dominant themes of Puccini’s Tosca, or perhaps anti-clericalism.

In the 2020s, director Edward Dick’s modern dress version emphasises Florian Tosca’s dilemma in facing Scarpia’s lust: a MeToo rendering of this powerful masterpiece. The point is explicitly made from the end of Act 1 until we eventually see the consequences of Scarpia’s obsession.

Yet again, a shiver goes down my spine as Florian Tosca throws herself from the battlements of the Castel Sant’ Angelo. It matter little how often I see this scene, or the Te Deum where the evil Baron Scarpia vocalises his lust against the background of a religious service, I am still enthralled.

Giselle Allen, reprising her role as the eponymous heroine, gives a finely balanced performance switching between irrational jealousy and then principled, though conflicted, lover. She had powerful Acts 2 and 3, with an excellent rendition of Vissi d’Arte. Obviously, the director was anxious to maintain a certain pace since he allowed no space for the audience to applaud. The same occurred for Cavaradossi’s famous aria E Lucevan Le estelle

Sadly, the tenor slated to repeat his role in this production, Opera North favourite Rafael Rojas, died almost exactly one year ago. He is much missed.

It is unfair to speak of a replacement for Rojas since that invites a comparison, however Ukrainian tenor, Mykhailo Malafi gave us some fine dramatic acting. His voice was equal to the demands Puccini made of Cavaradossi.

Just in case we were unable to identify the time frame, his torture scene is conveyed to Tosca via the laptop in Scarpia’s office/bedroom.

There are many ways to play the dastardly secret policeman Baron Scarpia, but it seems that the current favourites are as either a calculating, bureaucratic slimeball or a deranged bully maddened by the presence of the unattainable Tosca. Robert Hayward chooses the former. First he deceives Tosca into believing that Cavaradossi is having an affair and then manipulates events towards his ultimate goal. His singing was powerful until just before the knife severs his jugular, when he seemed to falter and lose his clarity of tone.

One of the most affecting scenes comes at the end of Act 1.

Even in our own times, the potency of the Te Deum, with the choir and clergy preparing for a service in the background, while Scarpia specifies his plans for the ruination of Tosca, is shocking. When he has finished pouring out his lust, the Cardinal blesses him. The reaction, when first performed in the Catholic Italy of a century ago, with Scarpia asserting “for you (Tosca) I will forsake salvation”, I can hardly imagine.

Almost a fourth lead in this production is Tom Scutt’s versatile set design. Suspended above the stage for Act 1 is a giant saucer suggesting the dome of St Paul’s. Next, it becomes the elaborate ceiling of Scarpia’s bedroom in the Palazzo Farnese and finally a giant iris observing the behaviour of the mortals below. Add to this the re-use of the votive candles of Act 1 to become Rome’s city lights in Act 3 and we may well be seeing one of the very finest examples of the designer’s art..

Conductor Garry Walker kept the ship on course with style and considerable energy.

I have seen a few Toscas in recent years, but none approaching Opera North’s.