Bryn Terfel has 'enormous' stage presence in Placido Domingo's Tosca

5 / 5 stars
Tosca

THE combination of Jonathan Kent's classic production, Sondra Radvanovsky's Tosca and a seething malicious Bryn Terfel as Scarpia is close to perfect as opera gets

opera, tosca, bryn terfelBryn Terfel is the evil police chief Scarpia in Tosca [CATHERINE ASHMORE]

When I last saw Jonathan Kent's production of Puccini's Tosca at the Royal Opera House a few weeks ago, I thought it was quite wonderful, but the latest change of cast makes it even better.

The plot is simple but intensely dramatic: The opera singer Tosca loves the painter Cavaradossi, but is lusted after by the powerful and evil police chief Scarpia. When Cavadossi helps to his an escaped political prisoner, Scarpia sees his chance: he'll torture and threaten to execute Cavaradossi, offering to free him if Tosca lets him have his evil way with her.

This being an opera, they all end up dead, but only after some stunningly good music. 

My five-point plan for a great Tosca is as follows:

1. World class singers in all three roles.

2. Imposing sets to match the grandeur of the music.

3. A snarling Scarpia whose voice exudes real menace.

4. Intelligent direction that gives the principals convincing things to do while Puccini's music carries the emotional storyline forwards.

5. A beautiful leap to her death off the battlements by Tosca to bring the opera to a close.

This production came close to perfection on all five.

opera, tosca, Sondra Radvanovsky is the tragic opera singer trapped between two men [CATHERINE ASHMORE]

In the title role, the American soprano Sondra Radvanovsky was quite stunning. Her voice has astounding power with thrilling high notes. Her acting ranged from coquettish and suspicious with Cavaradossi to tragic when submitting to Scarpia, but was convincing throughout.

Bryn Terfel is quite simply the best Scarpia around, seeming to seethe with malice with every note. His stage presence is enormous, gripping the attention and combining with the music to create an instant mood of pure blackness whenever he enters.

It cannot be easy to be Cavaradossi when these two are around, but Riccardo Massi made an excellent Covent Garden debut in the role. This Italian tenor has an interesting history, having first trained as an actor, he worked as a stunt man in such movies as Mel Gibson's Passion of Christ and Martin Scorsese's Gangs of New York in order to finance his singing lessons.

This background may account for his two convincing collapses, under torture and when being shot. His voice was also up to the high demands of the role, though lacked the fruity mellowness of Roberto Alagna whom he has replaced in the role. Massi's acting, however, was excellent of course.

Jonathan Kent's production uses Paul Brown's impressive sets and Mark Henderson's moody lighting in a most effective way to make the visual impact match that of the music. I have seen this production half-a-dozen times and notice more striking features of it every time.

Finally, there is Tosca's leap to her death. All too often, this is a tentative little step across the parapet, giving the impression that the soprano is a bit worried that he might sprain her ankle or chip a fingernail as she plummets to her doom.  

Claire Rutter showed us how it should be done at ENO a year or two ago, and Radvanovsky followed her lead with a wondrously graceful slow fall backwards. This was not just a good leap, it was a great leap, well worth an extra star on its own. 

Placido Domingo conducted the orchestra crisply and, as one would expect, with particular attention to the singers to get just the right balance between them and the orchestra. It all added up to a wonderful evening.

Opera does not get much better than this.

Tosca's final performances run on June 19, 21 and 26. Visit roh.org.uk or call 020 7304 4000 for tickets.

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