Tosca review – Bryn Terfel’s lustful Scarpia returns to intimidate and compel

Royal Opera House, London
Natalya Romaniw brings vulnerability and depth to Tosca and, in the pit, Eun Sun Kim conducts with subtlety and delicacy in this revival of Jonathan Kent’s staging

‘Where would the opera houses be without Puccini?”, a friend observed during this latest Royal Ballet and Opera revival of Tosca. It is 100 years this Friday since Puccini died, but he does more of the Covent Garden box office’s heavy lifting than ever. Tosca, La Bohème and Turandot are all slated for runs this season.

A revival like this one tells you why. With the three principal roles strongly cast, and the orchestra in buoyant form, only the hardest of critical hearts can resist. Yes, Tosca is a crude and melodramatic opera. And, no, the third act does not quite measure up to the first two. But Puccini’s musical ambition and his theatrical punch are masterly.

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