Tosca brings Mafiosi to Richmond

The big problem arises from the move. The first act is shifted from inside a church to a cute church square. Holland Park, one presumes, did outdoors well. Now someone needs to reconsider the lighting. The first half of this thriller is played under a constant, jolly wash of Mediterranean sunshine. The music is doing shadows and pools of holy, stained light. It’s doing godliness and artistic sensuality, mixed and conflicting. It’s doing intrigue and hypocrisy and lust. The stage is doing Zippadeedoodah.

Once the shadows of night fall for the second act, things get better. Scarpia’s rooms become a streetside eaterie: diners on the pavement, torture victims inside. The mood is right.
David Stephenson’s Scarpia is excellent: his singing authoritative with bursts of controlled nastiness, his demeanour the epitome of bella figura.

We forgive the decision to have Tosca immolate herself, however technically underwhelming. We don’t forgive the lack of blood in the stabbing of Scarpia.

Philip Thomas gets the orchestra through a reading of the score, marred by some sinful tuttis from the reduced string section. Julia Melinek’s Tosca had passion by the bucket-load but frayed on the highest notes. Adriano Grazini has a beautiful voice but was diffident when not in high romantic strain. Amanda Echalaz and Sean Ruane, the production’s original stars, alternate the roles.
Until 1 March (richmondtheatre.net)

Korn Ferry Opera Holland Park: Tosca
Richmond Theatre
The Little Green, TW9 1QJ