Jonathan Kent’s 2006 production of Tosca replaced the classic Zeffirelli staging, created for Maria Callas and Tito Gobbi, that had served since 1964. The sighs of relief that Kent’s was a safe non-interventionist production were audible and indeed there are few original touches.

The starlight over the execution courtyard, in an electric black sky that finally reveals a giant symbolic wing, is an exception. Paul Brown’s handsome, ingenious sets, skilfully lit by Mark Henderson, certainly provide an atmospheric backdrop.

Stepping into the title role for the indisposed Deborah Voigt, Angela Gheorghiu reprises the interpretation she offered when the production was new. Her voice may lack a little edge and bite but not tonal variety, and she moulds a satisfyingly eloquent line in Vissi d’arte, accompanied sensitively by conductor Jacques Lacombe.

She also throws herself and her flashing eyes into the production, which is more than can be said for the sturdy Marcello Giordani as Cavaradossi. His is a big, beefy voice, deployed not terribly subtly, and he is unwilling to moderate it to accommodate Gheorghiu’s more slender, nuanced tone.

It’s Bryn Terfel’s richly textured Scarpia that steals the show, however, bringing out more clearly than ever not just the evil police chief’s sadistic cruelty but also his lust. He is the Scarpia for our time and it must be doubtful whether this production, designed for longevity as it is, will ever field a better one.
Until 18 July (020 7304 4000, www.roh.org.uk).