Presented by Opera Australia

Tosca is playing at Margaret Court Arena, Melbourne until May 30. Also playing at the Joan Sutherland Theatre, Sydney Opera House, from June 25 to August 12.

Tickets and further information can be found at opera.org.au/events/tosca-melbourne

A stunning new version of the acclaimed Giacomo Puccini opera, which first premiered in 1900, but still enjoys monumental popularity today, Tosca.

Opera Australia has done a wonderful job bringing Puccini’s glorious work to life, with vivid sets, exceptional performances and superb staging, with the moody lightning underscoring the dark and twisted subject matter of Tosca, told in three acts.

Originally set in Rome circa 1800, this version has been updated to a modern setting, but its themes of love, lust, rebellion, corruption of power and revolution still remain topical today.

But aside from the canny use of a laptop for one pivotal scene, the modern-day setting doesn’t change the intent or meaning of Puccini’s work at all, mainly working in an aesthetic scene to depict a more contemporary world that we might have expected.

The story is a simple one but feels epic thanks to the rich performances and emotions of the cast. As affable painter Mario Cavaradossi (Diego Torre) works on a painting of Mary Magdalene, he is visited by an escaped political prisoner, who proceeds to get him and Mario’s lover, the fiery Floria Tosca (Karah Son), caught up in the cause of the Italian rebellion.

Meanwhile, the local chief of police, the ruthless Baron Scarpia (Robert Hayward) tries to use a captured Mario as leverage to win the hand of Tosca, whom he lusts after. This sets in motion a fateful series of events that entwines Tosca, Cavaradossi and Scarpia and leads to some shocking developments.

Tragic and triumphant in equal measure, Tosca is a monumental achievement and the unique setting of Margaret Court Arena worked surprisingly well as a venue for opera, with three leads all sounding wonderful and doing a brilliant job of projecting their voices to a large stadium crowd.

While Son (as Tosca) and Hayward (Scarpia) are both exceptional, special praise must be given to Torre as the endearing and courageous Cavaradossi, with this incredibly talented tenor having many show-stopping moments throughout the show.

Hayward’s embodiment of pure evil is gripping too, in a wonderful hissable performance. The actual boos at the curtain call for his character (not the actor himself, of course) was a testament to how brilliantly Hayward played his part.

Not to be outdone, Soh is radiant and shows us a huge range of emotions in her complicated, multi-layered character. A complicated yet sympathetic lead, Tosca is the heart and soul of the opera and the soprano’s work as the central character is unforgettable.

Edward Dick’s direction is masterful, from the atmospheric lighting to the wonderful use of the show’s massive stage by the cast. Dick has crafted a world you’re instantly drawn into and one that will linger with you long after the final curtain falls.

A wonderful ensemble supports the main trio effortlessly, and three distinct and interesting sets are used for each act, making every act feel like a complete story in their own right. The subtitle screens accompanying the actors were subtle and well-placed, and kept up perfectly to help illuminate the action on stage.

Having this current production of Tosca at such a popular sporting venue might help to entice the uninitiated to see an opera for the first time, with the story of Tosca being quite accessible and easy to follow for those perhaps unfamiliar with opera and its conventions.

An incredible achievement by Opera Australia, this new version of Tosca is an unforgettable work, and should introduce a whole new generation to Puccini’s masterwork.