ENO's Tosca Review: a fiery revival of Puccini's opera without political grounding
05 November 2026 | 19:30 | London Coliseum
⭐⭐⭐ | PR - Invite
When Puccini's through-composed opera Tosca premiered at the Teatro Costanzi in Rome 1900, its brutality shocked audiences. Bomb threats forced the opening night to be pushed back, and its indirect commentary on Italy's political unrest was subject to great debate. Yet despite all this, its 20-show run was a success. And in 2026, we turn to the ENO's new production of Tosca at the London Coliseum, as director Annilese Miskimmon tackles the 'predictable' with a statement piece for today.
After Victorien Sardou's 1887 play La Tosca, this three-act opera observes the love affair between soprano songstress Floria Tosca and painter Mario Cavaradossi. When Cavaradossi assists resistance leader Angelotti with his jailbreak, corrupt police chief Scarpia sees the perfect opportunity: to recapture Angelotti and to murder Cavaradossi for his assistance. This way, he can have Tosca all to himself. That is until she wants revenge, of course.
Through the set design of Rosanna Vize, we see that Miskimmon's production is set in the mid-late 20th century, as a broad concert hall stands before us, embellished with green fire-exit signs and Evie Gurney's costumes which, from the pre-show ensemble, suggest a modernity about them. We are in an unidentified European state, where the lyrics of Tosca's Act II aria Vissi d'arte ['I lived for art'] are amplified as a motif across the show. A setting that combines music with Cavaradossi's painted mural, whereby a space of art is exploited through conflict - as theatres so frequently are in war.
I find its ambiguity of location to be this adaptation's biggest detriment. Puccini's original provided a parable on 1900s political violence in Italy, by framing Tosca at the height of the Napoleonic Wars (1800), a century earlier yet in a time of similar governmental oppression. But tonight, without any definitive social context, it's hard to know what's at stake. When Cavaradossi demands democracy in Vittoria! Vittoria!, under what exact purpose is he fighting?
Grammy Award-winner Axelle Fanyo stars in the title role, as an incredibly multi-faceted Tosca, handling the libretto (Giuseppe Giacosa and Luigi Illica) in the most beautiful way. Her romantic ballads and duets with Cavaradossi (Chaz’men Williams-Ali) soar, as Fanyo gives a playful, amorous bounce to every one of her lyrics. Even when backed into a corner, her Tosca is fierce and immediate to watch.
Williams-Ali's likeable good-guy Cavaradossi complements her greatly, notably in their Act I lover's duet, as the sunset lowers and Lee Curran's lighting bathes them in a glorious orange hue. In larger scenes however, his presence shrinks, especially when against Scarpia, lacking the same performative gusto as his fellow leads. And although brief, Alaric Green makes for an urgently thunderous Angelotti, who's genuine passion for freedom ignites the catalyst for the narrative.
A cast of 20 pupils (aged 9-11) from Marlborough Primary School - a West London state school - join the production with a palpable sense of confidence and togetherness. They introduce Te Deum in Act I, initially a joyful and celebratory choral tune before Scarpia's theme interrupts, orchestrated by a dissonant, aggressive sound that is spine-chilling in its juxtaposition. Christopher Purves' Scarpia feels distant and undermined in Act I, but provides quite the formidable opponent to Fanyo's Tosca in Act II, marking this production's emotional pivot.
The ENO orchestra are an outrageously good driving force, as always. Where music is at the thematic front of this conflict, Ben Glassberg conducts a melodramatic score that peaks between volatile emotion and the sacrality of freedom. Glassberg undoubtably gets the biggest applause of the evening come curtain call, and there is no question as to why.
Sung in English with English surtitles above the stage (translated by Amanda Holden - not that one!), this was my first time seeing Puccini's Tosca, which I found to be presented with much clarity and fluidity. The ticket price is worth it for the altered ending alone. I am not emphasising when I say that I have never seen anything like that onstage before. it leaves everyone in this audience gasping and open-mouthed! With more social-political reason, this English National Opera production could have been a more potent revival.
Tosca plays at the London Coliseum until the 11th December: https://londoncoliseum.org/events/tosca/
It's companion piece Adriana Mater (Saariaho) opens on the 28th November: https://www.eno.org/operas/adriana-mater/
