'Tosca' review — this thrilling new take on Puccini's opera is powerfully resonant

Read our review of Tosca, starring Axelle Fanyo, now in performances at the London Coliseum to 11 December.

Summary

• Annilese Miskimmon directs Tosca as the London Coliseum
• This thrilling English National Opera production transports the action to a contemporary European country
• Axelle Fanyo is a spirited Tosca and Christopher Purves is a treacherous Scarpia

We may not have hit upon the new James Bond yet (my money's on Jack Lowden), but the English National Opera's new production of Giacomo Puccini's Tosca is as thrilling as any spy movie. Set in contemporary times, sinister foreign troops invade an unnamed European country. Painter Mario Cavaradossi supports escaped Resistance leader Angelotti, but things don't go to plan. Cavaradossi's having a secret affair with famous singer Floria Tosca and she doesn't know about his political activities. Meanwhile evil baddie Scarpia, the city's Chief of Police, will do anything to hunt down Cavaradossi – and have Tosca all to himself.

Purists might disapprove of transposing Puccini's original opera, based on real events in 1798 when Napoleon invaded Rome, to the present day. But this take on a timeless tale about love, power and sacrifice feels fresh and resonant: it could be situated in the Balkans in the 1980s or even in Ukraine right now.

Grammy-winning soprano Axelle Fanyo's spirited Tosca, as sexy as any Bond girl, hits the high notes in her ENO debut. Most memorable is her powerful aria "Vissi d'arte", with reflections on life, faith and dedication to art while placed in difficult circumstances. "I have lived for art, I have lived for love."

Chaz'men Williams-Ali as Cavaradossi takes a while to warm up. But his rendition of "E lucevan le stelle" ("And the Stars were Shining") in Act III, where in his prison cell he recalls a night he spent with Tosca, is heartfelt. On the other hand, we could have done with more of rich-voiced Alaric Green in the role of Angelotti. A talented bass-baritone who started out as a carpenter in West End theatres, you can catch more of Green in Opera North's Dead Man Walking next February.

Another highlight is a sweet solo from young Elliot Michael as the shepherd boy and the children's chorus made up of students from Marlborough Primary School, providing some light relief from the nail-biting and often violent proceedings.

However, the standout performance is from Christopher Purves as calculating and treacherous Scarpia. A superb baritone with great stage presence, he’s a deliciously Machiavellian villain who steals every scene he's in and is especially formidable when cunningly toying with Tosca's emotions.

Director Annilese Miskimmon (also Artistic Director of the ENO) offers an interesting interpretation of how malevolent regimes repress the arts (stay tuned for an intense surprise ending), and conductor Ben Glassberg confidently leads an excellent ENO Orchestra.

One of the pluses of the ENO is how it makes opera accessible for beginners or those less confident with the genre, with lyrics sung in English that are projected above the stage and a relaxed dress code for visitors. After all, this bold version of Tosca could be viewed as an exhilarating operatic The Spy Who Loved Me: it has a licence to thrill.

Tosca is now in performances at the London Coliseum to 11 December. Book Tosca tickets on LondonTheatre.co.uk

Photo credit: Tosca (Photos by Ellie Kurttz)