However, Frontali’s interpretation of the menacing Scarpia fell flat as the choral and orchestral forces were asked to save the grandeur of the Act 1 Finale, but his villainous affair with Tosca did revive his performance later on.Ī character of many faces, experienced soprano Echalaz embraced the melodramatic personality of Tosca in sublime fashion: from the opening jealousy-induced comedy and flirtatious dialogue with Cavaradossi to the breathtakingly poignant aria Vissi d’arte and graceful second act duets.
Uzbekistani tenor Mavlyanov made his Royal Opera debut tonight as Cavaradossi with no obvious show of nerves: his first aria Recondita Armonia was cool and composed, and his E lucevan le stelle in the final chapter displayed an impressive balance of tender warmth and burning passion.
A whirlwind of actions and consequences ensue between Tosca, Cavaradossi and Scarpia, building towards a dark destiny for all. Angelotti (Yuriy Yurchuk), a political fugitive enlists the help of a painter Mario Cavaradossi (Najmiddin Mavlyanov) to escape the clutches of the cruel Chief of Police Baron Scarpia (Roberto Frontali). The story unfolds in the midst of a stormy revolution and political volatility in Rome 1800. Tosca has a deep narrative strength as engaging as a blockbuster movie (*contains spoilers). With a stellar vocal line-up (headlined by Amanda Echalaz as Tosca) alongside Jonathan Kent’s expert direction, Paul Brown’s inspired visual design and the ROH Orchestra conducted by Emmanuel Villaume, the Royal Opera House staged a magical evening of inspiring Italian music and drama.
An instant hit from the day of its 1900 premiere, Puccini’s iconic melodrama remains universally admired today.
Opera embodies emotional power as art and encourages a wealth of musical imagination – none more so than Giacomo Puccini’s Tosca.
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