As far as operatic spectacles go, Tosca is one of the grandest out there. With a layered plot and stunning score, it is among Giacomo Puccini’s best and most celebrated works. After a run at the Margaret Court Arena in Melbourne, this production (based upon the staging by Opera North in the UK) made its way to the Joan Sutherland Theatre for its Sydney season. 

Even separated from the music, the plot of Tosca is intriguing and engaging. Based on Victorien Sardou’s 1887 play, La Tosca, the play deals with complex issues surrounding revolution and political protest, as well as strikingly poignant commentary around the intersection between power imbalances and sexual harassment. This results in a narrative that feels more layered than other comparable works, with the plot and the music given relatively equal weight. 

Artistic Director Jo Davies and Director Edward Dick assembled a stellar cast for this production, led by international stars Giselle Allen, Young Woo Kim and Gevorg Hakobyan for the first half of the season. The production commenced with the meeting of escaped political prisoner Cesare Angelotti (David Parkin) and church painter Mario Cavaradossi (Young Woo Kim) and the audience was immediately treated to an exquisite rendition of ‘Recondita armonia’ from Kim. 

The lyrical tenor in Kim’s voice reverberated through the auditorium as he struck the perfect balance between power and finesse. His impact upon the audience was clearly noticeable, as after the aria concluded, multiple groups of people around me immediately remarked on his skill and talent. Kim’s presence was felt strongly throughout the whole show, with the raw emotion demanded by the role shining through his interpretation. It was, without a doubt, one of the strongest performances that I have seen on an opera stage.

Hakobyan was an excellent foil to Kim and was commanding as the villainous police chief Scarpia. He did an excellent job accentuating the darkness in his voice for the role and displayed superb character acting throughout the production. Allen was also strong in her role as Tosca, with her rendition of ‘Vissi d’arte’ being one of the highlights of the opera, although she was perhaps lacking in the warmth and aura that Kim and Hakobyan possessed.

The drama of the opera was handled extremely well in this production. The dramatic apex of the production in Act II was perfectly crafted in its theatricality and musicality and felt well-adapted to the present context in terms of its engagement with the dynamics of exploitation from Scarpia towards Tosca that were at play. Tom Scutt’s set design was also stunning and contributed to the drama of the production with its grandeur and centrality. The recurring use of the church dome throughout the production and its focality at the end of the opera when Tosca jumps to her death was truly brilliant. 

As always, the Opera Australia Orchestra, led by Johannes Fritzsch and the Opera Australia Chorus were sublime and complimented the production nicely. Fotini Dimou’s costumes and Lee Curran’s melancholy lighting also added to the ambiance and reinforced the strength of the production. Also worth noting was Opera Australia’s continued commitment to diverse casting, which, when combined with similar efforts across a number of major production companies in Australia, is slowly but surely making a difference. 

This was a display of opera at its finest. Every performer on stage displayed absolute mastery of their craft and contributed to this being one of Opera Australia’s finest productions in recent memory. This is a production that took the incredible dramatic and musical breadth that this work has and extracted absolutely everything out of it. This is both a great introduction into the world of opera for newcomers and a superb night out for ardent operagoers. When mastery combines with such a powerful work in this manner, it creates a form of magic on stage that is an absolute treat for the audience. This is without a doubt a production not to miss.

Rating: ★★★★★

Tosca plays at the Joan Sutherland Theatre until 16^th August 2024. For more information, click here.

All photo credits: Keith Saunders