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Coliseum's Tosca: A Brutish Scarpia Steals the Show
1 Nov
Summary
- ENO's new Tosca production features a radical reimagining by Annilese Miskimmon.
- The opera is set in a single space, losing visceral church and state collisions.
- Christopher Purves delivers a standout performance as the brutal Scarpia.
English National Opera's latest production of Puccini's Tosca, helmed by artistic director Annilese Miskimmon, boldly strips away references to specific locations, confining the entire drama to a single, unusual setting. This radical departure, four years after ENO's previous Tosca, aims for contemporary relevance but unfortunately loses the opera's visceral clash between church and state.
The production, while aiming for a minimalist concert hall aesthetic, introduces significant dramaturgical problems. Key operatic moments, like the collision of power in act one and the layering of onstage and offstage worlds in act two, are diminished. The focus shifts to near-constant, often gratuitous, violence, with unsettling stage business.
Despite these conceptual drawbacks, the musical performance shines. The ENO orchestra, conducted by Ben Glassberg, delivers a sumptuous score, with moments of terrifying power conjured by the brass. The chorus also proves intensely engaged. Vocally, Axelle Fanyo offers beautiful tone as Tosca, though Chaz'men Williams-Ali sounds uncomfortable as Cavaradossi. The true highlight is Christopher Purves, whose stark, chilling baritone and brutish presence make his Scarpia a performance to remember.
