Looking for accessible storytelling, spectacle and excellent opera: Look no further than ENO’s fresh new production of this oft-performed classic.
The English National Opera’s new production of TOSCA by Puccini (Rome, 1900) of Amanda Holden’s translation, is directed by Annilese Miskimmon, Artistic Director of the ENO. The libretto was written by Giacosa and Illica and based on Sardou’s political melodrama La Tosca (1887). The ENO have restaged this alongside Andriana Mater set in the same universe and location ‘understood as somewhere in Eastern Europe in the 1980s’ imbued with conflict and threat from external forces.
The scene opens on a midcentury concert hall and the escape of Angelotti, the leader of the Resistance. Cavaradossi, painter and resistance sympathiser, aids Angelotti. Tension builds as symbol of violence and authoritarianism, the Chief of Police Scarpia, commences the search. The escape doesn’t go to plan. Tosca, celebrated diva, is entangled in illicit political activities and sadistic power games, as the secret lover of Cavaradossi and subject of Scarpia’s obsessive desire. Tosca fights back, yet all ends inevitably in tragedy, although certainly uniquely spectacularly in this production’s case.
The production does not fail to explore its timeless themes of jealousy, love, purity and resistance. From censorship and art as medium for resistance as murals associated with resistance are painted over, and musical instruments (symbols of art and expression) are theatrically destroyed by the ruling forces. The physical depiction of this feels particularly poignant in both the setting and physical venue of a concert hall, especially one such as the 2,359 seater, the London Coliseum.
It may be too much to imagine any commentary on the status of art in our current society and political environment with the rise of AI generated content, when there is no technology more developed than guns and ‘boombox’ radio on stage. Yet, such interpretations justify the setting of both Miskimmon’s and the original opera in an artistic environment. As the director is quoted in the programme: ‘the artist has often been the ‘’canary in the coal mine’’, altering us to the creep of authoritarianism’.
Stakes are balanced by Cavaradossi and Tosca’s passion and the humorous moments that feel like metatheatrical winks to the public. The performers are impressive and captivating. From the exquisite ENO orchestra led by Conductor Ben Glassberg, to the enthusiastic children’s chorus from Marlborough Primary School who also bring appropriate light relief.
Axelle Fanyo (Tosca) is a privilege to see and hear in this romantic and powerful role and her chemistry on stage with Chaz’men Williams-Ali (Cavaradossi) and Christopher Purves (Scarpia) was palpable. Purves’ character and vocal execution was particularly well developed, an appreciation for which was illustrated by the audience’s mix of impassioned applause, whoops and boos at his curtain call.
The dynamic use of height onstage was visually interesting and an intelligent representation of power shifting; from the ground, to chair, to ladder to balcony. Viez’s set design was excellently realistic, combined with Curran’s lighting design that delivers a real-time journey through afternoon to dusk falling, sunset and into the dark, violent night.
The ENO successfully rendered an accessible production through translation, subtitles and staging. The choice of setting at times confuse, e.g. when lyrics seem incongruous with action on stage. However, without proper knowledge of the original libretto, it’s difficult to say how much of this is a choice in dramaturgy or edit of the translation. Religious imagery remains in this production,but fades into the background, muddled with this vague setting of the all-purpose hall.
Not ‘a shabby little shocker’ as Kerman is quoted describing Puccini’s original, Miskimmon’s Tosca is an enjoyable and accessible production, complete with spectacular (unspoiled) ‘shocks’, excellent performances and modern commentary. ENO’s Tosca will be at the London Coliseum until 11 December 2026.
Author: Flora Hemmingway