TOSCA - Opera Australia

 

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 25^th –August 16^th 2024

Performance on July 2^nd reviewed by BILL STEPHENS.

Gevorg Hakobyan (Scarpia) and Opera Australia Chorus and Children's Chorus in " Tosca"

 

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.

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.

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.

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