CONSIDERING Besch's production of Tosca is more than 20 years old, there were no signs of wear and tear and it certainly did not feel past its sell-by date.
Cocker's revival was expertly delivered, presenting what felt like a fresh and contemporary interpretation of Puccini's well-loved opera. Set during the 1940s period of Italian fascist rule, the representation of dominating political tension projected and enhanced the emotional turmoil of the characters on stage, allowing them to love and hate with a believable, hypnotic expression.
Glanville's return to the title role of Tosca was without exception beautifully executed, capturing the melodramatic highs and lows of the glamorous character. Ferrero's portrayal of Cavaradossi was defiant, robust and exquisitely romantic, exhibiting the level-headedness needed to offset Tosca's irrationality. Scarpia, played by Robert Poulton stole the show with his voice as domineering and captivating as his character. Despite Scarpia's evil and scheming nature, Poulton's excellent portrayal rendered the role extremely likeable without descending into pantomime villainy. The Sacristan's (Morrison) comical interludes in the first act were delightful and a pleasure to witness. In the pit, Corti reigned in the orchestra, although their quaint playing was outshone by the mastery of the singers on stage.
The set design was as much a character in its own right as the principal singers. The first opening curtain induced gasps of awe from the audience, presenting an utterly breathtaking and detailed backdrop of the church; the gates of the Attavanti chapel glistening on the right, Cavaradossi's dishevelled painter's easel in the corner, setting up a tragic contradiction that pervades the entire work. Act II and III were equally spectacular; Scarpia's dimly lit and ominous dwelling elicited the sinister atmosphere of the political unrest, while the castle battlements and its enormous angel statue provided a grand setting, looming over Mario and Tosca's final moments. Scottish Opera's Tosca is flawless, from start to finish a feast for the eyes, and an exceptional delivery of Puccini's powerful score.
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