(Photo: Brescia e Amisano)

It was December 7, 2019, when the curtain of Teatro alla Scala rose before the select audience that annually attends the Sant’Ambroeus performance, better known among opera lovers as “La prima della Scala,” the event that inaugurates the new season of the prestigious Italian theater. To open the 2019-20 season—unaware that it would soon be brutally interrupted by the pandemic—”Tosca” was chosen.

Puccini’s immortal masterpiece sparked great anticipation among La Scala’s regular audience, as it was presented in a traditional production but with a distinctly cinematic approach and an array of innovative technological elements. Davide Livermore’s vision aimed not only to impress theatergoers but also those watching the live broadcast in adapted cinemas and theatres in the city, as well as the 2.85 million Italian television viewers—a record-breaking audience that remains unbeaten to this day.

Following another tradition of La Scala–restaging opening night productions after a few years–in 2025, it was decided to entrust Alessandra Premoli with reviving Livermore’s production, albeit with some changes in the cast and musical direction. The Turin-born director and actor reimagines the iconic historical settings of the plot without losing its powerful Roman essence. The first act, set in the church of Sant’Andrea della Valle, stands out as the most cinematic, thanks to an ingenious rotating stage that keeps the Attavanti Chapel in constant motion. The stage design by Giò Forma‘s team ensures that each scene transition feels like a film sequence. The Te Deum, which concludes the act, is particularly impressive due to the sheer number of elements on stage: a massive chorus, an imposing set, and the elegant, meticulously detailed costumes by Gianluca Falaschi. Far from a schematic design, the details are subtle yet significant: Scarpia and his henchmen’s coats are tinged in blood red, as is the lower part of Tosca’s blue dress in the second and third acts.

On the musical front, it is worth recalling that for the 2019 premiere, Riccardo Chailly, the theater’s music director, opted for the philological restoration of eight passages that Puccini had cut after the opera’s 1900 premiere at the Teatro Costanzi in Rome. These were reinstated in the critical edition by Roger Parker, which was used for this production. However, hearing these passages confirms that Puccini’s decision was wise, as their removal avoids unnecessary delays in the dramatic rhythm and agile stage timing that Livermore presents.

For this revival, Michele Gamba took the podium, delivering an extraordinarily convincing interpretation. His tempi, generally slower than usual, allowed for an exploration of intriguing instrumental details and the highlighting of dynamics that often go unnoticed. His theatrical approach prioritized the melodic and harmonic expressiveness of the score, always ensuring a careful balance with the singers. The Orchestra of Teatro alla Scala responded with virtuosity to the Milanese conductor’s demands, particularly in the most striking instrumental moments, such as the original ending of the third act—where Puccini reprises the motif from “E lucevan le stelle”—, the Roman dawn accompanied by the sweet melody of the shepherds, or the extended version of Scarpia’s death scene in the second act. However, the Te Deum stands as the musical climax of the evening, showcasing an impressive cohesion between the orchestra, the adult chorus, and the children’s chorus, masterfully directed by Alberto Malazzi and Marco De Gaspari, respectively.

In the leading role, Elena Stikhina offered a highly musical Tosca. The Russian soprano possesses a voice of great beauty and fascination, combined with a solid vocal technique that allows her to ennoble this complex character. Her captivating timbre and stage presence highlight the versatility of her Tosca, a portrayal that is not only vocally accomplished but also dramatically compelling. The only minor drawback is her pronunciation of Italian, which is not always crystal clear. Her interpretation of “Vissi d’arte” was widely applauded, particularly for her long phrases and the subtle filato in the final line: “Perché, perché, Signore…”

As her beloved Cavaradossi, Fabio Sartori delivered a vocally impeccable yet dramatically incomplete performance. His gentle vocal quality and experience in the role are undeniable, but his acting left something to be desired, as his portrayal often felt rigid and lacking in emotional depth. Nevertheless, his “Recondita armonia” featured a beautiful final high note and a refined interpretation suited to the character, while the iconic cry of “Vittoria, vittoria!” in the second act was well-placed and well sustained. The Italian tenor’s finest moment came in the third act, particularly in the duet with Tosca and, of course, in “E lucevan le stelle,” where his powerful breath control and expressive phrasing won over the audience.

As the villainous Baron Scarpia, Amartuvshin Enkhbat delivered a very clean interpretation, rich in nuances and striking tonal colors. His vocal power, flawless Italian diction, and the richness of his interpretation—enhanced by Gamba’s suggested dynamics—made him a formidable presence. However, the Mongolian baritone’s acting did not quite reach the same level, at times appearing somewhat monochromatic. That said, it is fair to acknowledge that he has significantly improved his stage presence compared to past performances.

The supporting roles were equally noteworthy. Tenor Carlo Bosi shone as Spoletta, thanks to his precise vocal and dramatic delivery, always a loyal shadow to Scarpia. Baritone Marco Filippo Romano presented a light and convincingly acted Sacristan, avoiding the excessive caricature or cliché often associated with religious characters. Li Huanhong offered a dark-toned and theatrically solid Angelotti. Xhieldo Hyseni was adequate as the Jailer, while Cecilia Menegatti’s clear and well-tuned voice made for a delightful Shepherd. It is worth mentioning that this cast performed only for two performances, while the rest of the run will feature Chiara Isotton as Tosca, alongside the Cavaradossi and Scarpia from the 2019 production—Francesco Meli and Luca Salsi.