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SeokJong Baek as Cavaradossi and Ossian Huskinson as Angelotti in Tosca, The Royal Opera | Photo: Clive Barda

What could there possibly be to complain about when a production of Tosca is full of the romance, depth and darkness of Puccini’s 1900 score? Jonathan Kent’s revival from the Royal Opera in 2005 to mark 100 years since the composer's death brought this audience face-to-face with a visual spectacle that I can sometimes miss in many of the recent, modern opera productions of the work.

Pomp all the way for this one. It opens with immediate, tremendous singing from young bass Ossian Huskinson, playing Angelotti, the former consul now in hiding in the side chapel of a church, whose resonant sound is made for knocking us sideways on the opera stage.

But from the outset we are met by a tremendous vocal display from almost every soloist. Cavaradossi, Tosca's love interest and a humble fresco painter, is the thrilling tenor SeokJong Baek and Scarpia an ever-captivating Bryn Terfel. Kent’s production moves from a church in Act 1 to the deceptive cosy candlelight of Scarpia’s gothic library in Act 2. Though the costumes feel somewhat unremarkable, the overall affect of the Roman grandeur provides the spectacle that Puccini’s massive score asks for. High ceilings, low lighting and oversized statues bring an element of the inspiring overwhelm of Rome.

Bryn Terfel as Scarpia and Natalya Romaniw as Tosca in Tosca at The Royal Opera | Photo: Clive Barda

Floria Tosca, initially cast as Sonya Yoncheva, could not have seen less disappointment in Welsh soprano Natalya Romaniw. Her embodiment of the character took us from subtle comedy through to deep romance, terror and desperation. Romaniw’s soprano has a tender quality, which can draw the ear to a space that feels almost 'behind' her, but is able also to propel sound, exposing a rawness and passionate artistry. The torture scene with Terfel packed a particular punch, as did the iconic ‘Vissi d'arte’ at the end of Act 2.

Terfel is so detestable that he is barely recognisable at first. Though his voice’s upper register is revealing a gruffness of sound, it is completely at home in the role, transporting the drama to Scarpia’s wicked narcissism. It’s a huge sing for which Terfel could not dedicate more.

The Royal Opera Orchestra led the dramatic intensity, brilliantly conducted for the first time by South Korean conductor Eun Sun Kim – currently music director at San Francisco Opera. She carved out a range of musical voices from the orchestra, at times propelling and others perfectly delicate.

Act 3 is set at a hall in the castle, the two lovers waiting for, what they think is a fake firing party coming to kill Cavaradossi. Its starkness, punctuated by stars, is a eerily calm backdrop to the trauma of the deception of Act 3. Baek set up this mesmerising ending with his ‘E lucevan le stelle’ aria and connects movingly for one last time with Tosca.

Even in some very great productions, it's perfectly possible to become aware of ones own distraction or faint boredom. That awareness could not have been further from my mind in this star-lit evening.

Until 13 December. rbo.org.uk