Director Oliver Mears triumphs with this modern-day interpretation of Puccini’s full-blooded three-act drama of politics and power with its many allusions to global current affairs to the fore.
In a war-torn Rome, Floria Tosca (Anna Netreba) and Mario Cavaradossi (Freddie De Tommaso) live for each other and for their art. But when Cavaradossi helps an escaped prisoner, Cesare Angelotti (Ossian Huskinson), the lovers make a deadly enemy in the form of Baron Scarpia (Gerald Finley), Chief of Police. At the mercy of Scarpia’s twisted desires, Tosca is forced into making a horrific bargain: sleeping with the man she hates to save the man she loves. Can she find a way out?
Mears’ focus is very much on the darker elements at the heart of the piece, in particular the contrast in class background between a well-to-do Cavaradossi and a socially deprived Scarpia, and this plays out brilliantly as we observe the latter’s desire for power and anything else that he perceives as being beyond him.
This glooming emphasis is excellently captured in Simon Lima Holdsworth’s sophisticated set design that draws upon the implied harmony between religion and violence that plays out in many right-wing totalitarian regimes, from the looming bomb damaged church in the opening act through the mausoleum-like office with marble wall lining and bronze plate doors, to the clinical enclosed prison cell whose heightened brutalism appears to be offset by the backdrop of St Peter’s Basilica through a redemptive window.
Powerful imagery indeed that is complemented further by Ilona Karas’ superb costume design: Tosca’s red dress in the opening scene screams jealousy and rage in contrast to the serene white marble sculpture of the Madonna whilst the accoutrements to her Act II outfit resonate strongly with the bronze door.
Add in Fabiana Piccioli’s exquisite lighting scheme which revolves around the dark, light and ever-increasing shadow and we are served up a truly wonderful visual feast oscillating between corruption and redemption in one of the best operatic productions I have seen.
And then there’s the music: conductor Jakub Hrůša has started as the new Musical Director of The Royal Ballet & Opera, and this was his first Tosca. We had nothing to fear as relentless with baton in hand, the orchestra perfectly captured the rhythm and intensity from the off and driving the action on-stage, with Act I’s closing ‘Te Deum’ a perfect example of where the sum of the parts was much more than their whole as the chorus added to the crescendo: bravo!
The three leads were excellent with Netrebko perfectly capturing the contrasts in her character with a powerful arrival cloaking her deeper fragility and insecurity whilst performing with an impressive tonal consistency throughout as seen with her rendition of ‘Vissi d’arte’.
De Tommaso has a darker tone for a tenor which is perfect for Cavaradossi in a powerful performance with his ‘E lucevan le stelle’ beautifully and sensitively delivered. There’s a bright future ahead.
Finley somewhat stole the show with an inspired performance as Scarpia whose emotions swung between faux-courage and faux-empathy, capturing the psychology of a narcissistic character caught between psychotic and psychopathic, no better than through his physical performance and vocal rendition of ‘Ha più forte sapore’.
A special mention in support roles for Huskinson’s machismo Angelotti, Alessandro Corbelli’s comedic Sacristan, Carlo Bosi’s spiteful Spoletta, Scarpia’s put upon sidekick, and Olle Zetterström as the corrupt gaoler.
Tosca performs at The Royal Ballet & Opera through to 7th October. Further details https://www.rbo.org.uk/tickets-and-events/tosca-oliver-mears-details
Reviewer: Mark Davoren
Reviewed: 1st October 2025
North West End UK Rating: