In doing so, Fredj immediately established the idea of a Scarpia-supporting crowd watching the action. The evening opened with shots of the chorus taking their distanced seats in the balcony and a man being actually shot in an execution on stage. This was a fully lived in staging, using some minimal props and the full depth and width of the stage to create an evening of exciting theatre. Olivier Fredj was credited as the director of a mise-en-espace, but what Fredj gave us was so much more than that.
Instead, they chose to make the show free of charge on their YouTube channel for the next week, as well as broadcasting the production into cinemas throughout the Hauts-de-France region. As a result, they were unable to host an audience – with the orchestra taking up the whole of the floor of the theatre, Alexandre Bloch conducting his band in the round, with the chorus in the first balcony. The house had worked exceptionally hard to produce a show for transmission that was appropriately safe for the cast members. The lifting of restrictions on audience access to theatres in the French republic came a little too late for this new production of Tosca at the Opéra de Lille. Jeune Chœur des Hauts-de-France, Chœur de l’Opéra de Lille, Orchestre National de Lille – Région Hauts-de-France / Alexandre Bloch. Un pastore – Violette Desmalines, Emma Ponte, Marion Smith
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