Tosca in Bucharest: Italian Grandeur, Passion, and an Opera That Moves You to Tears
My visit to the Bucharest National Opera left me with rather mixed first impressions. The theatre itself and its interior feel quite modest and, in my opinion, are long overdue for renovation. This applies not only to the auditorium but also to the public spaces, including the buffet area. I could not even find a place where I could purchase a programme.
There are also a few aspects of the audience experience that caught my attention. People entered the auditorium carrying their personal belongings and bags, while some remained seated wearing their hats. All of this gave me the impression that the theatre could benefit not only from a major renovation and redesign, but also from greater attention to the overall audience experience.
Another detail worth mentioning is the absence of English subtitles in the auditorium. Personally, this did not bother me at all, as I know Tosca practically by heart and can follow the story without difficulty. However, it inevitably reminded me of the Bayreuth Festival and Wagner's operas, where the absence of subtitles can become a much greater obstacle to understanding the performance.
Still, I believe that an international opera house in the capital of a European country should take its international audience into consideration. English subtitles are no longer a luxury; they are an important part of making opera accessible to international visitors.
Yet all these observations fade into the background once the performance begins.
This time, I had the pleasure of attending Giacomo Puccini's Tosca, a production that turned out to be far more captivating than one might have expected from the theatre's initial impression.
A Classic Production with Italian Grandeur
The production was directed by Mario De Carlo, who was also responsible for the set design, costumes and lighting. First staged in 2019, this production has clearly become an integral part of the theatre's repertoire. Over the years, the performers seem to have done far more than simply familiarise themselves with it: they have practically grown into their roles.
This is particularly evident in the acting. Every movement, gesture and reaction feels natural and precisely rehearsed. There is no sense that the singers are merely performing their vocal parts and following stage directions. They genuinely inhabit their characters.
It is also interesting to note that several renowned performers have appeared in this production over the years. Among them was the celebrated Welsh bass-baritone Sir Bryn Terfel, who performed the role of Scarpia. This adds another layer to the production's history and demonstrates how many distinguished artists have brought their own interpretations to these roles.
Visually, this Tosca is quite different from the restrained, minimalist productions I have become accustomed to in Berlin. The Berlin production, for instance, offers a rather classical and neutral interpretation, whereas the Bucharest staging is filled with colour, monumental sets and striking visual details.
There is everything here: large painted backdrops, impressive religious imagery, a monumental crucifix and imposing stage constructions. One particularly memorable moment features an enormous cross rising from the stage and remaining suspended in the air. It creates an almost symbolic question about which side Scarpia is really on. Although, perhaps, the answer is rather obvious.
The costumes deserve special attention, too. Tosca appears in magnificent outfits, first in orange and later in a rich shade of scarlet. These colours not only emphasise her temperament and emotional nature but also create an interesting contrast with Scarpia's appearance.
Overall, the production is full of red, gold, rich tones and theatrical opulence. There is something unmistakably Italian about its grandeur, an approach to opera in which the stage is allowed to be colourful, spectacular and even a little extravagant. And, I must admit, I rather missed this kind of theatrical generosity.
This is a traditional production, without attempts to surprise the audience with yet another radical directorial concept or relocate the story to an unexpected setting. There is no need to decipher what the director might have intended or search for hidden meanings where the music and drama already speak for themselves. You can simply watch, listen and enjoy the theatre.
Three Powerful Characters: Tosca, Cavaradossi and Scarpia
Iulia Isaev performed the title role of Floria Tosca, and she was undoubtedly one of the highlights of the evening. She was magnificent both vocally and dramatically. Her Tosca was emotional, passionate and vividly alive. She was not simply a prima donna accustomed to admiration, but a woman capable of loving, becoming jealous, feeling fear and desperately fighting for the person she loves.
I particularly appreciated how naturally Isaev inhabited the dramatic scenes. For instance, when Scarpia touches Tosca, she visibly recoils. It is a small detail, but precisely these reactions make an acting performance convincing. The audience does not need any further explanation to understand her fear; it is immediately palpable.
That said, I would have liked a little more vocal freedom and a longer sustain on the final note in the famous aria Vissi d'arte. I felt that this moment could have been given slightly more space and breath. Nevertheless, her overall performance was very impressive.
The role of Mario Cavaradossi was performed by Alin Stoica. His performance was also commendable, although I personally would have liked to hear a little more freedom and brilliance in the upper register. His famous aria E lucevan le stelle, however, was particularly well received and prompted an enthusiastic response from the audience.
The applause was so prolonged that the singer briefly stepped out of his tragic character and smiled at the audience.
In a way, this was rather touching: just a moment earlier, we had witnessed a man mourning his approaching death, and now he was graciously accepting the audience's appreciation.
I would especially like to highlight Ștefan Ignat as Scarpia. He created a truly seductive villain: dangerous, authoritative and possessing a very particular kind of magnetism.
There was a fascinating stage chemistry between him and Tosca. Their interactions were filled with tension, and at times it felt as though something much more complex was happening between the characters than the libretto alone might suggest. These nuances gave Tosca and Scarpia's confrontation an additional dramatic dimension.
The Red Scarf and a River of Blood
I would also like to return to a few directorial details that particularly stayed with me.
One of them appears after Scarpia's murder. Tosca walks towards the exit, with a long red scarf trailing behind her like a bloody train. It is a simple yet remarkably expressive idea. In this image, red ceases to be merely part of the costume and becomes a visual extension of the crime that has just taken place. A river of blood seems to follow Tosca, something she can no longer escape.
The colour contrast in Scarpia's costumes is equally interesting. At the beginning, he appears in a scarlet cloak, emphasising his power and menace. Yet in the murder scene, he is dressed entirely in white. This visual transformation leaves room for interpretation and adds another layer of meaning to the scene.
Overall, the production knows how to work with symbolism without overwhelming the audience with complicated directorial explanations. The monumental sets, expressive costumes, lighting and colour create their own visual dramaturgy, beautifully complementing Puccini's music.
A Theatre That Makes You Cry
Perhaps this is exactly what I was hoping to experience in Bucharest: a grand operatic evening filled with beautiful voices, vivid colours, genuine passion and theatrical grandeur.
Of course, the production has its particularities, and the theatre itself still has several aspects that deserve attention and improvement. But ultimately, I left the auditorium thinking about something entirely different. It was a genuine pleasure to watch performers who understand their characters so deeply and inhabit the production so naturally.
The finale was particularly emotional. I cried. And perhaps that is the best indication that the performance truly achieved its purpose.
Bucharest's Tosca reminded me that classical opera does not need constant directorial experimentation to make a lasting impression. Sometimes all it takes is beautiful music, outstanding performers, thoughtful stage design and genuine theatrical passion.
And for this evening, I would simply like to thank the Bucharest National Opera.
Text: Julia Pneva
Photo: press department of the theatre
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