Highly dramatic and yet refreshingly pleasantly reduced – with a loud bang at the end, the audience is once again startled by the fatal shot to Cavaradossi. Even in the tenth year after its premiere, Alvis Hermanis‘ production at the Staatsoper Unter den Linden Berlin still manages to build up a tension curve and maintain it continuously. All three acts are equally interestingly constructed and captivate the audience.
The historical background is not dragged into the foreground. Although it provides the framework for the story to be told, it is not retold in an exemplary manner. The audience is encouraged to read about it separately; it is not imposed directly.
The stage design (also by Alvis Hermanis) is inviting and well-rounded in its design, appealing and not overloaded. It is clear and structured, providing good orientation in all three acts. The backdrop of Rome and Castel Sant’Angelo is projected. At the beginning, an image of Mary Magdalene appears – the work of Cavaradossi, the painter, for the altar design. The lighting (Gleb Filshtinsky) is completely successful. It is vividly shown that the drama extends over one day until the beginning of the following day. The church until dusk and then dawn are depicted. The action takes place in Rome in June 1800 at the time of the Battle of Marengo between Napoleon and Austria for supremacy in Italy.
In the first act, the audience learns about the relationships between the characters. Entanglements and intrigues develop and come to a head – nothing good is to be expected. The leitmotifs jealousy, domination and power, as well as victory and lust, play a major role.
The fan left by Angelotti‘s sister in the chapel is a symbol of the jealousy that is kindled in Tosca (Lise Davidsen). She suspects that Cavaradossi is cheating on her. Here, the audience becomes aware of the tragedy of the situation. Tenor Freddie De Tommaso sings Cavaradossi with great emotion, whether he is expressing his love for Tosca or singing of his political ideals. He hides the escaped political prisoner Angelotti (Arttu Kataja) from the baron and police chief Scarpia (Gerald Finley).
Scarpia now takes on the role of the string-puller and plans to use Tosca for his own purposes. Scarpia bares his soul. The bass-baritone rumbles and thunders unbeatably well. He lays out his nihilistic view of the world. Tosca is just an object of his desire.
In the second act, his sadism is revealed through the torture of Cavaradossi, who refuses to reveal the hiding place of Angelotti, and his subjugation. Tosca can no longer bear the torture of Cavaradossi and betrays Angelotti, who must now die. In the end, however, it comes to self-empowerment – Tosca gives Scarpia the fatal stab. Supposedly, everything turns out for the best.
A successful production: Lise Davidsen captivates the audience with her breathtaking voice, there is spontaneous applause several times. She fully embraces the role of Tosca – spirited, emancipated and even ironic at the beginning, when she tries to uncover Caravadossi’s secretiveness. Lise Davidsen’s profound singing is moving at every moment.
Scarpia’s deception is only resolved in the third act – Tosca has been betrayed, all hope of rescue is lost, the arranged mock execution of her lover Caravadossi by the soldiers proves to be ‘real’, Tosca throws herself to her death from the Castel Sant’Angelo. The tragic end is inevitable.
The music is dramatic and emphasises the malevolence with which the power of Baron Scarpia is exercised. Zubin Mehta conducts the orchestra masterfully.
The State Opera Chorus and the Children’s Chorus of the Staatsoper unter den Linden (rehearsed by Dani Juris) with boy soloist Hugo Kern (a shepherd) are equally convincing. The chorus’s entry and appearance are impressive.
Overall, the production is compelling and captivating. You are continuously willing to follow the action and, meanwhile, wonder how it will continue. The Staatsoper unter den Linden is full. The audience’s authentic reactions are standing ovations, encouragement and enthusiasm. There is thunderous applause, although this is not a premiere. In the foyer, you meet people after the end of the play who are talking animatedly about what they have just experienced.
Photos: Hermann und Clärchen Baus