Music: Giacomo Puccini
Libretto: Luigi Illica and Giuseppe Giacosa
Revival Direction: Jonathan Cocker
Conductor: Stuart Stratford
Reviewer: Dominic Corr
Puccini’s melodramatic masterpiece Tosca has it all; corruption, lust, heartbreak and the bureaucracy of history. Shifting the timeframe into the 20th century, there is still a stringent root to Puccini’s origins in 1900. Practically flawless in execution, Tosca moves beyond a visual wonder with Stuart Stratford’s musical conduction and direction. Under the growing shadow of Benito Mussolini, Floria Tosca attempts to liberate her beloved from the clutches of fascist oppression, but as their grip tightens so too does the risk of the lives involved.
Decadent, there’s astonishing detail in Peter Rice’s design that offers a framework of renaissance sculpture. Rarely, perhaps never, has a production been so befitting of the Festival Theatre’s stage. Here there is no room for minimalism or symbolic structure, no, this is craftsmanship at it’s most architectural. Hallowed stones of alabaster-marble, to a looming figure atop the fortress and imposing fireplaces, Tosca has the skeleton to hold spectacle, now hopefully it packs the lungs to carry this off.
Let’s be frank. We both know the operatic skills of this evenings performers go without question. Nae, it would be insulting to suggest there are issues with vocals, as there are none. These are trained professionals in the height of their ability, not merely in scale but control, emotive connection and tonal changes. These are storytellers as much as they are singers.
Puccini’s adoration for women almost exceeds that of music, evident in Tosca herself. Fiercely resilient, profound in her determination, Tosca, as one may imagine, is central to the motivations of men throughout the production. Far from a temptress or stereotype, Tosca captures the moral depravity men will slither to in pursuit of selfish ideals, yet also the redemptive capacities humanity is capable of. Natalya Romaniw’s masterful voice ebbs away at the audience, for a brief moment, we are numb to the world around us as she recites her solo aria Vissi d’arte over her love for Cavaradossi.
“Ecco un artista!” and what an actor indeed, Gwyn Hugh Jones’ role as the painter, lover and revolutionary concealer Cavaradossi goes beyond mere vocal performance. Scottish Opera has an embedded appreciation of the medium, beyond its impression of solitary arias, breathing life into their productions. While his swansong moments in Act 3 etch into the minds of the audience, it is Hugh Jones’ oratorio moments within the house of God which stands out amidst borderline cinematic scenery. It also places him in stark contrast to the antagonistic Scarpia, the sycophantic leather-clad worshipper of one Benito Mussolini.
Eagerly revelling in our jeers and boos, Hall and Roland Wood match their vile villainy not only in presence but their mastery of vocals equally. A thick, pulsing vein of corruption runs at the heart of Puccini’s opera, a political bureaucracy at the core of Europe. Sly, vindictive and repugnant in approach, Wood’s Scarpia is a monstrous reminder of Italian fascism. Yet, even beauty turns its face towards evil, as Wood’s baritone’s tremble the marble adorning his office, the flames themselves shuddering at his presence, as his rising malice is snuffed out by Tosca’s kiss, the night hushes into new daybreak.
Dawn breaks, as does a brief respite from the dramatic tension of the previous act’s climax. Here especially, soak in Cocker’s respect for the orchestra, as the aria holds itself in reverence of the musicians. As the soldiers await their duty, the atmosphere lingers with glints of cigarillo sparks. Lead by Anthony Moffat, the composition of the piece is exquisite in richness, perfectly pacing itself to a building crescendo to reflect the upcoming finale. Particularly for the string portion’s, the orchestra stands toe-toe with those of the vocals, concocting a symphony of artistry, which ties together each element of Scottish Opera’s Tosca, finishing up a comprehensive production.
Perhaps a reflective comment but there’s a concern that Tosca may not be 100% accessible for non-devotees. This is, without question, meticulously crafted with undeniable talent, there’s an air of reverence for the production that those unfamiliar with Tosca will perhaps not comprehend. Still, Scottish Opera’s Tosca is a definitive incarnation, standing the test of a centuries history, art and revivals. It is a testament to the companies merit, talent and ability and a precise way to close their 2019 season alongside Iris‘ one-off performance at City Halls, Glasgow.
Runs until 26 November 2019 | Image: James Glossop