Tosca, Opera Holland Park review ★★★★★

There's an election in the offing, and the power-hungry, lecherous populist will stop at nothing: no woman and no objector is safe.

Sounds familiar, but this is Rome in 1968. The populist is Scarpia, a vain and ruthless politician, and it is the glamorous singer Floria Tosca who is horribly desired by the smirking smoothie in Stephen Barlow's production of Puccini's most theatrical opera.

This Tosca was first staged at Opera Holland Park in 2008, but that indefatigable company has taken until now to revive a production that is completely in tune with its origins, its stylish Sixties setting and our modern world. Opening this year's very promising season with a bang, it has the lot: brilliant musicianship, eye-catching design and thrilling drama.

Morgan Pearse as Scarpia. Photo: Ali Wright

Returning to the title role is South African-born soprano Amanda Echalaz, who has sung worldwide since her big breakthrough at OHP, after representing her country in the 2005 Cardiff Singer of the World. Sixteen years on, she brings to the character the added patina of a watchful, maturing woman capable of jealousy when her bohemian young lover Mario appears to be straying.

Mario Cavaradossi is a pavement artist working on a religious piece just outside the church of Sant' Andrea della Valle in the heart of Rome. Tosca misreads his shielding of a political refugee as a flirtation, encouraged by Scarpia's finding apparent evidence of another woman. When Mario is tortured to reveal his comrade's whereabouts, it is too much for Tosca, who enters into a dreadful pact with the couple's tormentor.

Puccini's score unfolds at breathtaking speed, with orchestral effects of dazzling colour and a hit parade of melodies. And this production takes up that pace, its bustling piazza packed with believable characters, the warp and weft of religion and politics in constant tension, while La Dolce Vita can turn to La Brutta Vita in an instant.

José de Eça as Mario Cavaradossi. Photo: Ali Wright

There is no end to the ingenuity of Barlow and his designer Yannis Thavoris, with lighting by Tim van't Hof. The sinister Farnese Palace, Scarpia's hangout, is a bar favoured by the Mob. Exciting innovations such as the telephone, the television and a nippy little Fiat are central to the action. Tosca is every inch a diva, from her luxuriant up-do to her white leather boots – Sophia Loren, Audrey Hepburn and Maria Callas all rolled into one.

Matthew Kofi Waldren, with his notable flair for the Italian repertoire, conducts the City of London Sinfonia. The instrumentalists mark their 20^th year at OHP with playing that tells a story every bit as vividly as the stage performers, although there are moments in the score not reflected on stage, notably the placing of candles in an attempt to sanctify a sin,

Echalaz's majestic bearing and warm personality as Tosca is matched by singing of great passion and quality. Portuguese-born tenor José de Eça makes a stunning OHP debut as Cavaradossi, with a rich, Italianate timbre. Bass-baritone Morgan Pearse's Scarpia has suitably terrifying strength, and there is lovely work too from OHP regular Ross Ramgobin as Sacristan (here a priest in his own right).

The Chorus and Children's Chorus of Opera Holland Park. Photo: Ali Wright

Edwin Kaye is the fugitive Angelotti, and 13-year-old Angelo Aninag heralds in the day on his milk round in Act 3, a magical moment. The Chorus and Children's Chorus of Opera Holland Park create a community we can recognise and sing splendidly.

The composer died 100 years ago this year, victim of the cigarettes that our 1960s opera singer also lights up for solace or effect, and which have a bearing on the final scene. You will only find out how by going. Tickets are still available.

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Tosca is sung in Italian with English surtitles. Click here for booking. https://operahollandpark.com/productions/tosca-2024/. Click here for Monday rush tickets (at noon on 3, 10 and 17 June) for that week's performances