Even with the incredibly mixed reception that initially greeted Puccini’s fifth opera in 1900, the intensity of the melodrama and the equally extraordinary music have ensured that Tosca proceeds to enthral audiences, remaining 1 of the world’s most well-known operas.
West Australian Opera introduced Patrick Nolan’s Opera Queensland creation of Tosca at His Majesty’s Theatre in Perth. Tosca requires consideration, from the crashing introductory Scarpia chords to its shocking finale. The West Australian Symphony Orchestra done by Rebecca Lang delivered a powerful opening of musical brute force.
Nolan has established this creation of Tosca in 1970s Italy, a time of financial downturn and social unrest. Sets from designer Dale Ferguson are minimalist in thought, with an elevated gallery throughout the stage unfortunately ensuing in truncated sight-lines of the forged from all seats earlier mentioned the stalls. Mark Howett’s lighting was suitably stark, matching the set design and style.
The backdrop for the opening scene of the Basilica of Sant’Andrea della Valle was lit in amber colours, potentially reminiscent of a cathedral of the period of time.
The by-composed structure of the opera allows the narrative to development seamlessly. The agitated visual appeal of the fugitive Angelotti was convincingly portrayed by Jake Bigwood, followed by the sprightly tunes of Callen Dellar’s Sacristan. Recondita armonia, just one of the favourite arias of the Tosca rating, was sent with assurance as nicely as subtle times of reflection by tenor Paul O’Neill. Maija Kovaļevska in the title job matched O’Neill’s tone and excess weight in their act one particular duet. A gentleness was apparent in this adore scene, and their controlled dynamic array mirrored the mood of this opening face.
The WAO Children’s Chorus made a self-confident entry with their noisy physical appearance. The busy and chaotic ensemble was somewhat steady in tempo, shedding the supposed scampering sensation of the rating. Text articulation could have been clearer, so that we ended up informed of the particularly noisy Italian group in this musically complicated scene.
The reprise of the opening chords greet the arrival of Scarpia. Warwick Fyfe embodied brutal evil in this entry with his stentorian resonance silencing the assembled throng, even immediately after a pre-efficiency announcement to the audience that he was sick. In response, Kovaļevska maintained an icy demeanour in the course of their meeting, controlling her terror and contempt for the gentleman who threatens her daily life and pleasure.
Scarpia’s condominium was set on the upper stage of the gallery spanning the phase. Lights was distinct and obvious, leaving no position to disguise. The off-stage chorus somewhat lacked volume, maybe thanks to their placement backstage, which resulted in the Tosca solo dominating the chorus, somewhat than remaining component of the ensemble. Spoletta, convincingly portrayed by Matthew Lester, was a complicit foil for Scarpia. The confrontational experience concerning Scarpia and Tosca smouldered as she was confronted with her tormentor. O’Neill’s triumphant Vittoria vittoria when advised of the defeat of enemy troops nearly provoked its individual spherical of applause. The inevitable clearly show-stopper of the opera, Vissi d’arte was sent with managed enthusiasm, Kovaļevska demonstrating her attractive evenness of tone and timbre. Tosca’s impetuous murder of her persecutor confident and horrified, her very clear contemptuous text of dismissal concluding the gory scene.
The tranquillity of the act a few prelude was diminished by a harshly lit business location. No mild pastoral melody, but a weary cleaning maid (Jillian Halleron) singing the Shepherd’s Music. This was Castel Sant’Angelo, synonymous with imprisonment or death for any person who defied the authorities, and thoroughly convincing in this bare ruthless place. O’Neill’s anguished farewell to daily life and like E lucevan le stelle was effective and convincing in its shipping right before the final appreciate duet. Kovalevska and O’Neill merged to portray persuasive and powerful enthusiasts, with similarly impressive singing. Supporting roles of guards and officers contributed to the general mayhem with animated reactions at the unfolding horror of the finale.
Even with very last-minute Covid diagnoses in orchestra and refrain, this was a dedicated functionality of an unforgettable Puccini rating by the complete forged. Orchestral equilibrium was hardly ever an challenge, ensuing in an remarkable ensemble production of Tosca from West Australian Opera.
West Australian Opera’s Tosca runs at His Majesty’s Theatre 14 – 23 July.