Jakub Hrůša’s inaugural production as music director of London’s Royal Ballet and Opera should have come across as a seamless changing of the guard, but there was little about the premiere of Oliver Mears’ chilling new staging of Puccini’s Tosca that suggested business as usual.

Weeks of negative headlines plus a significant and vociferous demonstration outside the house were a sign that Anna Netrebko was in town. Days before opening, the Ukrainian Ambassador had gone public with a searing indictment of Covent Garden’s decision to employ a singer tainted by past associations with Putin’s extraterritorial ambitions.

So, was it all worth it in the end? Well, yes and no. At 53, Netrebko’s voice has darkened with the middle and lower registers sounding clotted at times, matronly even. The top, however, has retained much of its brilliance, though the vibrato is broader and there’s a harsh edge at times.

Nevertheless, she is able to exert sufficient control to serve up some electrifying moments, not least an emotionally poised end to Vissi d’arte – which brought the house down on opening night – and a visceral...