“Tosca” with Anna Netrebko opens the season at the Royal Opera House in London

But things could not go too smoothly. Upon arrival at Heathrow, I found out that London was in the middle of a city-wide Underground strike. With only two hours left until curtain time, getting to my hotel was out of the question. I had no choice. I locked myself in a disabled toilet (yes, I know, I shouldn’t have, but the situation was exceptional) and, like a spy-movie character, underwent a lightning transformation from tourist into opera-goer: quick shave, shirt, tie, suit, and smart shoes instead of casual clothes “unworthy” of the Royal Opera. With my new identity, almost like Agent 007, I left the restroom and headed to the Elizabeth Line station, which, although often associated with the Underground, technically is not, and therefore was not affected by the strike. Opened in 2022, this high-speed urban railway became my salvation, whisking me into the centre in 35 minutes. Twenty minutes later, I was at the opera house.

There I faced a thorough baggage check – both backpack and suitcase were carefully inspected before I deposited them in the free cloakroom. At the opposite entrance, a group of about 40 protesters had gathered – mainly Ukrainians, but also Britons and others objecting to the engagement of artists who have not condemned Russia’s aggression against Ukraine. Banners, Ukrainian flags, photos of Netrebko with Putin and with Oleg Tsaryov, and placards reading: NETREBKO POSED FOR PHOTOGRAPHS WITH RUSSIAN SEPARATIST LEADER, OLEG TSARYOV, AND HELD RUSSIAN SEPARATIST FLAG, FIRST, RUSSIAN CULTURE, THEN RUSSIAN TANKS, #BOYCOTTRUSSIA, STOP GLORIFYING RUSSIAN AMBASSADORS OF EMPIRE.

Most powerful, however, was what I saw on the ground outside the opera house. It was a performance: a woman dressed in white, wearing a sign reading “Neutrality kills,” lay on the ground symbolising victims of Russian aggression. Standing over her was another woman in a bloodstained gown, with a wreath on her head and a banner proclaiming “While Netrebko sings, Ukraine bleeds” – a symbol of proud but bleeding Ukraine. The message was unambiguous: art and politics are intertwined. When the West allows an artist associated with Putin to perform on the most prestigious stages, at the very same time people are dying in Ukraine. Neutrality, in such a situation, really does kill.

Anna Netrebko has, in fact, issued a statement condemning the war, but many see it as forced and insincere. Jakub Hrůša, however, emphasised that the decision to cast her was made on artistic grounds; he considers her one of the greatest singers of our time, and takes her declaration as genuine. He also pointed to the pressure often faced by artists holding Russian passports. Netrebko has as many supporters as opponents. The divisions are mainly political, though some critics also argue that her voice has lost its former lustre. Yet the half that remains faithful ensures that tickets for her performances are always sold out. She is one of the very few artists in the opera world capable of filling any theatre to capacity.

And so, despite the protests, after a six-year absence Anna Netrebko returned to the stage of the Royal Opera House. The packed auditorium (2,256 seats) fell silent at exactly 7:00 p.m., the lights went down, and a dramatic chord from the orchestra transported us to… contemporary Rome. Interestingly, the conductor appeared in the pit unnoticed, and there was no traditional applause at his entrance. Only before Act II did Hrůša appear formally, receiving a thunderous ovation – as did the orchestra. Before Act III came a moving gesture from the musicians: when the conductor signalled them to stand and take a bow, they instead remained seated, applauding him and striking their instruments. Only at his repeated signal did they rise to accept the ovation. Hrůša was visibly moved – a public confirmation of his acceptance as the new Music Director.

Oliver Mears set the action of ”Tosca” in present-day Rome, engulfed in war. The raised curtain revealed the interior of a church partially destroyed by bombing. Fragments of the ceiling and marble walls lay scattered, pews overturned as if by an explosion. The rubble and desecrated sacred elements contrasted with a monumental Madonna sculpture inspired by Bernini. Act II unfolded in a vast marble chamber in the style of fascist classicism – Scarpia’s office. Act III was the most surprising: not the familiar courtyard of Castel Sant’Angelo, but a claustrophobic execution chamber with white tiled walls and floor stained with blood. A desk with a radio, barred window, the oppressive atmosphere of a prison frozen in the condemned’s final minutes of life. Though “Tosca” is one of the best-known operas, the performance played out almost like a thriller. This was thanks to the director, who infused the scenes and characters with extraordinary dynamism, and to the cast, who followed his lead with conviction.

Three scenes were especially gripping. In Act I, the “Te Deum” was accompanied by the sounds of bombing. Lighting effects mimicked flashes of explosions, while pieces of the ceiling fell onto the congregation. Fear, dread, violence – it all felt tangible, present here and now, not just embodied by Scarpia. In Act II, Tosca’s murder of the prefect was brilliantly staged. When Scarpia, confident of his triumph, approached her, she seized a large brass ashtray and struck him violently on the head. The blow felled him, blood gushed, and Tosca finished the job with precise stabs of her dagger. Act III opened with a harrowing execution sequence. Before Cavaradossi faced the firing squad, the audience witnessed the last minutes of another condemned prisoner: handing over personal belongings in a plastic bag, signing a form, scribbling a few words for loved ones, removing his shirt, being forced into a kneeling position, and finally, a shot to the back of the head. Blood splattered across the white tiles, moments before a cleaning crew prepared the room for the next execution.

The cast that evening was truly outstanding. Freddie De Tommaso as Cavaradossi – whom I had previously seen in Berlin and Munich – gave perhaps his best performance here. He may lack subtlety and delicate shadings in his voice, but he compensates with fire and total dramatic commitment. The audience rewarded the Anglo-Italian tenor with ovations after both arias and his Act I duet with Tosca. Gerald Finley as Scarpia, styled like a policeman from an East German film, created a chilling figure of cynical bureaucracy. His voice was elegant, perhaps at times too lyrical for this role, but overall beyond reproach. Anna Netrebko as Tosca was highly convincing. She could amuse the audience in the jealous scenes with Cavaradossi, yet also embody utter desperation in her confrontations with both her lover and the prefect. Her voice is sharper now than in earlier years, when she sang Massenet’s “Manon” or Violetta in “La Traviata,” but she still impresses with stage charisma and ease in shifting between emotions – from intensity to tenderness. Her “Vissi d’arte” was delivered with great power, drawing a storm of applause and cheers. Alessandro Corbelli was excellent as the Sacristan, while young British bass Ossian Huskinson gave a strong performance as Angelotti. The Royal Opera House Chorus and Orchestra under Jakub Hrůša sounded electrifying, full of energy and dramatic tension. It was a passionate interpretation that gave the entire evening extraordinary intensity. This “Tosca” will remain long in my memory.

Tips for visiting the Royal Opera House in London:

• Get your tickets early. If it’s sold out, keep checking – extra seats and returns come up nearly every day.
• From the airport, the opera is reachable by Underground (unless there’s a strike).
• Piccadilly Line – the cheapest option (£5.80 with an Oyster Card or contactless payment), but the slowest, taking up to 50 minutes.
• Heathrow Express – quickest at 15 minutes to Paddington, but costly (£25 one way) and still requiring a transfer to the Underground or Elizabeth Line.
• Elizabeth Line – the quickest value option, taking 33–35 minutes to the centre for £13–15.
• Programmes cost £4.50.
• The opera house has several bars and restaurants – generally pricey, but you can pre-order refreshments for the interval.
• London has a very relaxed dress code. You’ll see everything from jeans and T‑shirts to tuxedos. Most people don’t pay much attention – comfort is what matters most.
• If you plan several visits a year, consider becoming a Friend of the Royal Opera House: a £40 annual donation gives early access to ticket sales, letting you secure cheaper seats with good visibility.
• The venue has a well-stocked shop filled with souvenirs, gifts, and recordings that can easily draw you in.
• Matinees several times a month start around 2 p.m., letting you save on accommodation with same-day return flights.

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