The National Center for the Performing Arts in Beijing presents a new production of Tosca, directed by Giancarlo del Monaco. Provided to China Daily

Sometimes, the second time's a charm.

The National Center for the Performing Arts (NCPA) presented a production of Tosca two years ago. I didn't get to see it, but I know it was helmed by a television variety show director. Due to reasons I can only surmise, that production is not coming back.

In its place, we now have a brand new one directed by Giancarlo del Monaco, son of the tenor extraordinaire Mario del Monaco. For those who have only heard of the "three tenors", Del Monaco was an icon before that generation. But the son, Giancarlo, holds his own place in the pantheon of opera, and you'll immediately know how good he is when the curtain rises on Tosca.

The NCPA production stands out not only for its grandeur but also for the dramatic intensity it brings to the scenes. Along with NCPA's La Traviata, this is the best Western opera I have seen on a Chinese stage. It hews to traditional style - many members of the Chinese audience are not ready for avant-garde interpretations and would want classic operas to be faithful to the authors' original instructions. Yet, it is not forbiddingly imposing. It takes advantage of NCPA's high-tech stagecraft, yet all the stage business is employed to serve the story and the music, never upsetting the dynamics of the central characters.

The set, designed by William Orlandi, deserves an award.

The church of Sant'Andrea della Valle in Rome, the setting for Act I, shows an exaggerated perspective that hints at that era and at the characters' inflated anxiety.

Te Deum reaches the climax not with the chorus milling around the stage, as is the case with most productions, but with the set coming alive, so to speak. This subversion of the mobile and immobile on the stage builds on the tension, which enhances Puccini's immortal music.

Del Monaco has great understanding of, and respect for, the music. Unlike some here in China, he does not make maneuvers that are inherently contradictory or irrelevant to the music. Whether it's the actors or the scenery, any stage movements seem to be dictated by the music. His brilliance does not overwhelm. It just subtly wins you over.

The set for Act III got spontaneous applause even during a dress rehearsal. The way it dwarfs Cavaradossi before his execution provides a sharp contrast with Act I when he runs around in high spirits and seems to be a master of that space.

The denouement when pursuers corner Tosca, who jumps off a tall statue, right in front of the audience instead of the usual down stage, is a daring flourish of stage treatment. If only Tosca's 5-meter fall were slowed down to achieve a slow-motion effect and completely clicked with the musical cue. That would have been perfect.

There are many things to savor in this production.

The performers' total immersion in the roles makes it a dramatic experience that even opera novices can relate to. For connoisseurs, it is worth repeatedly viewing.

Did you notice that Tosca's costume in Act II is almost identical to the one Maria Callas wears on the cover of her Tosca recording? What a nice homage to the greatest Tosca in operatic history.

NCPA's Tosca runs from May 12 through May 15 and features two rotating casts. For those who won't be able to catch this first run, I'm sure they will bring it back soon.

China Daily