Tosca, English Touring Opera, Wolverhampton Grand Theatre - review

It was based on a successful play. Sardou's La Tosca opened in Paris in 1887 starring renowned actress Sarah Bernhardt. It had over three thousand performances in France and was seen by Puccini. He was so impressed with Bernhardt's acting that he wanted to adapt the play into an opera and also to make the dignity and passion of her performance central elements of Tosca's character.

The plot was bound to be popular with Italian audiences. The story basically was about the political struggles which raged across Europe in the late 18th and early 19th Centuries. The clash between the French and Austrian Empires and the internecine battles between the kingdoms of an Italy before unification were within the collective memory of Puccini's audiences and the production has been popular ever since the first performance in 1900.

The central character is Scarpia—the evil chief of police. He is based on two real historical figures. The first was Baron Sciarpa, described by Alexander Dumas as a lethal counter-revolutionary and by others as a bloodthirsty, amoral and greedy mercenary.

The second was Vincenzo Speciale—a Sicilian judge with a reputation for cruelty and responsible for sending thousands of innocent victims to the gallows after sham trials.

It was not unknown for some associated with the process to persuade ladies that their husbands might be saved from the noose in return for sexual favours, but then have them executed anyway. It is this duplicity which is at the heart of Puccini's tale.

Blanche McIntyre's production is very much a no frills affair, which lets events unfold without unnecessary distractions. But the minimalist set, clearly designed with the needs of a touring company in mind, doesn't really succeed in capturing anything of the three locations supposedly depicted. There's also the matter of a long diagonal ramp with a low balustrade which has to be hurdled by the cast if they have to cross the stage.

Paula Sides gives us a Tosca perhaps lacking a little in maturity and passion, but her singing was clear and confident and her aria Vissi d'arte delivered with some feeling. Samuel Sakker, as her lover Cavaradossi, also gives a worthy account of his major aria E lucevan le stelle, and there is a degree of chemistry between the two which brings the relationship to life.

However, Craig Smith, as Scarpia disappoints largely because he does not exude evil. His singing voice does not carry any menace and his characterisation was minimal. In fact he reminded me of a former headmaster of mine—a little stern on the exterior, but scrupulously fair.

Conductor Michael Rosewell drew some very accomplished playing from the relatively small forces at his disposal, but there were times when the orchestral tone was a little uneven and coarse.

On balance, though, it is always a pleasure to welcome this company to the Grand as serious classical music performances in the provinces are always under threat.

By Jerald Smith