Tosca is as Powerful and Dramatic as Ever in National Irish Opera’s Production
Tosca is probably the opera that confirmed, without further doubt, Giacomo Puccini’s status as a brilliant composer. And once again, last night, Irish National Opera confirmed that it can take on even the most challenging operas and present them to the highest standard.
Originally set in Rome in 1800 to the political backdrop of the Napoleonic wars, Tosca is a hugely dramatic, emotional and claustrophobic opera that spans just 24 hours and tells the story of the ambitious and demonic police chief, Scarpia, and his pursuit of the gorgeous and feisty singer, Tosca. He will need to steal her away from her lover, the painter, Mario Cavaradossi, by any means he can find. The violent political upheaval in the background will give him licence to use those evil means to their fullest.
Since the opera is very specific about its moment in Italian history, it is rare to see a production set in another time period. However, producers and directors have realised that the violent political background can be interpreted into different points in history. The English producer, Anthony Besch, famously and controversially in 1980, set his production in World War II, citing similarities between the situation in Italy in 1800 and that of 1943 when allied armies were closing in on Italy while a repressive monarchy tried to hold onto power through the Fascist regime.
So, I was intrigued to see Irish National Opera follow suit and its setting in Rome of the 1940s worked seamlessly. I loved the nod to the traditional staging with Tosca’s costume in Act 2. The set was perfection with a woman behind me loudly saying what we were all thinking, ‘The set is fabulous.’ I particularly liked the rotating set that reveals the torture chamber behind Scarpia’s office and allows the action to alternate between scenes.
There are fine performances from Sinead Campbell-Wallace as Tosca and tenor Dimitri Pittas as Cavaradossi. At first, I was impressed but not bowled over by the soprano’s performance but she came into her own in the Vissi d’art aria, which was sung to perfection and was powerful enough to elicit much spontaneous applause. Pittas, I felt, was a quiet presence in the opera but again, burst into our attention with his solid rendition of the Act 3 aria, E lucevan stellle…
The real star of this opera though is Tómas Tómasson in the role of the villainous police chief, Scarpia. The Icelandic bass-baritone’s assured performance has just enough evil without falling into caricature. His stage presence is mesmerising and there is not a note I did not relish him singing. His confidently relaxed performance is one to be remembered.
Italian-Turkish Conductor, Nil Venditti, wrung every bit of intense drama from the orchestra to powerful effect. A stirring performance overall and worth going to.
Tosca continues this week at the Bord Gáis Energy Theatre until Sunday July 17 – https://www.bordgaisenergytheatre.ie/show/tosca/
