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Gevorg Hakabyan (Scarpia) and Opera Australia Chorus and Childrens Chorus in "Tosca" |
Composed by
Giacomo Puccini – Libretto by Luigi Illica and Giuseppe Giacosa
Directed by
Edward Dick – Conducted by Johannes Fritzsch
Set
designed by Tom Scutt – Costumes
designed by Fotini Dimou
Lighting
Designed by Lee Currank – Choreographed by Maxine Braham
Fight
Coordinator: Blake Wells – Intimacy Coordinator: Chloe Dallimore
Joan
Sutherland Theatre, Sydney Opera House June 25th –August 16th
2024
Performance on July 2nd reviewed by BILL STEPHENS.
Famously described by musicologist Joseph Kerman as a “shabby little shocker”, Giacomo Puccini’s Tosca is much more than that, although there are some moments in Edward Dick’s explicit staging when that description certainly feels rather apt.
Inspired by
Victorien Sardou’s melodrama, Tosca tells
the story of an opera singer of the same name, who finds herself besotted by a
painter, Cavaradossi. Cavaradossi however finds himself in a spot of bother
when he helps a political prisoner, Angelotti, escape the clutches of
villainous Police Chief, Scarpia.
Scarpia also
has a thing for Tosca so when Cavaradossi refuses to reveal the whereabouts of
Angelotti, Scarpia, has him thrown into goal, tortured and eventually killed so
that he can have his way with Tosca. Tosca however kills Scarpia and commits
suicide.
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Young Woo Kim (Cavaradossi) -Giselle Allen (Tosca) . |
This
production, shared in collaboration with Opera North, is beautiful to look at
although occasionally puzzling dramatically.
But best of all it offers the opportunity to hear three exceptional singers
in Irish soprano, Giselle Allen as Tosca, Korean Tenor, Young Woo Kim as
Cavaradossi and Armenian baritone, Gevorg Hakobyan as Scarpia, all three making
their first appearances with Opera Australia.
The main
feature of Tom Scutt’s abstract setting is a huge gilded dome on which is
painted a Renaissance fresco. Initially suspended above a raised semi-circular
stage the dome is repositioned for the other acts. Behind the raised stage
racks of votive candles are lit by an altar boy at various points. Behind these
again are banks of sometimes blinding spotlights.
For the
opening scene, set in a church, this works beautifully, with Cavaradossi painting
a missing section of the dome featuring the eyes of Mary Magdalene. But in the
second act with that section in place and the dome repositioned, given the
political references scattered throughout the opera, it’s difficult not to be
distracted by wondering about the significance of having Scarpia’s bedroom set
in the middle of a church.
Also, although
Fotini Dimou’s costumes appear to suggest the fashions of the 1940’s, why does
Scarpia listen to opera on his laptop while waiting for Tosca to arrive, and his
henchmen communicate on mobile phones?
Giselle Allen (Tosca) - Gevorg Hakobyan (Scarpia).
Ambiguities
apart, there is much to admire in this production. At the top of the list,
Giselle Allen’s remarkable Tosca. No shrinking violet this lady. Her stunning
vocal attack and powerful voice were immediately arresting. Every inch the Diva in the first act,
flirtatious and manipulative, she exhibits hints of steel as she insists that
Cavaradossi change the colour of Mary Magdalene’s eyes in his painting.
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Gevorg Hakobyan (Scarpia) - Benjamin Rasheed (Spoletta) - Giselle Allen (Tosca) |
Then in the
second act in survival mode, she’s remarkably athletic when resisting Scarpia’s
lascivious advances, toppling over furniture, crashing to the floor, even
commencing her “Visi d’arte” lying exhausted on the floor. Finally in the last act she actually falls to
her death to deprive her captors of the satisfaction of killing her. Allen’s is a memorable tour de force performance.
Supporting
this performance Young Woo Kim as Cavaradossi, blessed with a striking steely
tenor and confident stage presence, immediately commands attention, while
Gevorg Hakobyan seems born to play the evil Scarpia, revelling in flaunting his
power over his unfortunate victims.
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Young Woo Kim ( Cavaradossi) - Giselle Allen (Tosca) - Benjamin Rasheed (Spoletta). |
Surrounding
this formidable trio, Benjamin Rasheed and Luke Gabbedy offered chilling
characterisations as Scarpia’s creepy henchmen, Spoletta and Sciarrone, while David
Parkin made the most of his opportunities as the doomed Angelotti. Andrew Moran
delighted with his cameo performance as the grumpy Sacristan.
Responding
to Johannes Fritzsch masterful baton, The Opera Australia Orchestra thrilled
with its rendition of Puccini’s dramatic score, particularly in the first act
when it was joined by the Opera Australia Chorus and Children’s Chorus.
For anyone
open to a challenging new approach to a favourite opera, Edward Dick’s imaginative
staging should not be missed.
Images by Keith Saunders
An edited version of this review first published in the digital edition of CITY NEWS on 10/7/24