Review | Mariinsky Theatre’s Tosca in Macau was one of the best you will ever see

The 36th Macao International Music Festival celebrated the centenary of the death of Giacomo Puccini in style with a magnificent production of Tosca by St Petersburg’s Mariinsky Theatre, conducted by Valery Gergiev. Musically and dramatically, it was a triumph from start to finish and drew a tremendous response from the audience. The immaculate ensemble cast was superb down to the smallest role. It was led by a trio of outstanding artists: Tatiana Serjan in the title role, Najmiddin Mavlyanov as Cavaradossi and Vladislav Sulimsky as Scarpia. Few operas remain as relevant as Tosca. Its themes of oppression, resistance and abuse of power – not least for sexual coercion – are still the stuff of headlines today, 124 years after its 1900 premiere. The production pertinently transposed the opera’s setting from Rome in 1800 to the fascist era of Mussolini, who was prime minister of Italy from 1922 to 1943. The sets and costumes by Paul Edwards captured both the dark, brooding mood of a police state and the period to excellent effect. For example, Cavaradossi’s gigantic painting of Mary Magdalene was pure art deco in style. Paul Curran’s production was intelligent, clear and full of well-imagined detail. When Tosca demanded to know how much Scarpia wanted to spare her lover’s life, she threw her diamond bracelet at him. He put it back on her wrist with lasciviously lingering fingers as he told her that, in her case, the price was not money. The knife with which Tosca stabbed Scarpia was a dagger concealed inside a cross on his desk, which neatly summed up his religious hypocrisy as well as reflected Tosca’s desperate pleas for God to help her. The leading roles were performed with intelligence, clarity and, above all, a riveting intensity that was utterly compelling to watch. Serjan made the contradictions of Tosca’s character totally convincing – her passion for her lover, her piety, her tantrums and her tenderness – even bringing out touches of humour. She has a thrilling voice, with vibrant, ringing top notes and exquisite delicacy in the softer moments. Vissi d’arte, vissi d’amore (I lived for art, I lived for love) was sung with great simplicity and was heart-rending in its pain and despair. Mavlyanov made a tremendous impression as Radames in Opera Hong Kong’s Aida in 2017 and here showed why he is one of the world’s most acclaimed Cavaradossis. He has performed the role at such prestigious venues as New York’s Metropolitan Opera House, London’s Royal Opera House and the Deutsche Oper Berlin. His voice has awe-inspiring power, effortless control and a sumptuous tone, matched by superb acting skills that brought the character to life and made every emotion vividly real. Vocally and dramatically, he has remarkable range. His cry of “Vittoria!” at the news of Napoleon’s victory at Marengo was electrifying in its force, yet E lucevan le stelle (And the stars were shining) was sung with a subtlety and sadness that made it all the more moving. Sulimsky’s Scarpia was controlled, urbane and intriguingly vain, smoothing his hair back and strutting in his uniform, but terrifying when he let slip the mask and revealed his true, monstrous nature. In his Act 2 scenes with Tosca, his glee as he goaded her and gloated over her agony was stomach-churning. Again, the details were supremely telling. There was a wonderful moment when he took her feather wrap from her shoulders (she flinched as he touched her) and hung it carefully on a chair. As he smoothed it down delicately, you knew he was thinking how soon it would be her skin he was touching. Gergiev gave a masterly reading of the score, deeply felt, beautifully balanced and sensitive to his singers. He drew a full, gorgeously textured tone from an ensemble that brought together musicians from the Mariinsky Orchestra and the Macao Orchestra. One of the high points of the performance came from the Mariinsky Chorus – the beauty and power of their singing of the Te Deum chorus at the end of Act 1 was simply overwhelming. Although the run of Tosca is over, music lovers may wish to note that Gergiev returns to Macau for two concerts with the same combined orchestra on October 26 and 27. The two top Russian companies – the Mariinsky and the Bolshoi – have both appeared in Hong Kong in years past. As well as the Mariinsky Opera appearing in Macau, both the Mariinsky and the Bolshoi Ballet will feature in this month’s China Shanghai International Arts Festival. At least Macau is only a ferry ride away, but it must be hoped we will be able to see such world-class companies back in Hong Kong soon. “Tosca”, Mariinsky Theatre, Macao International Music Festival, Macao Cultural Centre Grand Auditorium. Reviewed: October 6.

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}Performed at the 2024 Macao International Music Festival, the Mariinsky Theatre’s production of Puccini’s opera Tosca was simply immaculate

Performed at the 2024 Macao International Music Festival, the Mariinsky Theatre’s production of Puccini’s opera Tosca was simply immaculate