Rivaling the splendor of Franco Zeffirelli’s set and costumes of the Napoleonic era, Sir David McVicar’s ravishing new production offers a splendid backdrop for two extraordinary sopranos sharing
Rivaling the splendor of Franco Zeffirelli’s set and costumes of the Napoleonic era, Sir David McVicar’s ravishing new production offers a splendid backdrop for two extraordinary sopranos sharing the title role of the jealous prima donna: Sonya Yoncheva and Anna Netrebko. Vittorio Grigolo and Marcelo Álvarez alternate in the role of Tosca’s revolutionary artist lover Cavaradossi, with Željko Lučić, Michael Volle, and George Gagnidze as the depraved police chief Scarpia.
Premiere: Teatro Costanzi, Rome, 1900. Puccini’s melodrama about a volatile diva, a sadistic police chief, and an idealistic artist has offended and thrilled audiences for more than a century. Critics, for their part, have often had problems with Tosca’s rather grungy subject matter, the directness and intensity of its score, and the crowd-pleasing dramatic opportunities it provides for its lead roles. But these same aspects have made Tosca one of a handful of iconic works that seem to represent opera in the public imagination. Tosca’s popularity is further secured by a superb and exhilarating dramatic sweep, a driving score of abundant melody and theatrical shrewdness, and a career-defining title role.
No opera is more tied to its setting than Tosca, which takes place in Rome on the morning of June 17, 1800, through dawn the following day. The specified settings for each of the three acts—the Church of Sant’Andrea della Valle, Palazzo Farnese, and Castel Sant’Angelo—are familiar monuments in the city and can still be visited today. While the libretto takes some liberties with the facts, historical issues form a basis for the opera: the people of Rome are awaiting news of the Battle of Marengo in northern Italy, which will decide the fate of their symbolically powerful city.
The score of Tosca (if not the drama) itself is considered a prime example of the style of verismo, an elusive term usually translated as “realism.” The typical musical features of the verismo tradition are prominent in Tosca: short arias with an uninhibited flood of raw melody, ambient sounds that blur the distinctions between life and art, and the use of parlato—words spoken instead of sung—at moments of tension.
к/т “Центральный” (пр-т. Независимости, 13);
г. Гродно, к/т “Красная звезда” (ул. Социалистическая, 4);
к/т “Центральный” (пр-т Независимости, 13);
Duration:2 hours 53 minutes
Cast:Tosca – Sonya Yoncheva, Cavaradossi – Vittorio Grigolo, Scarpia – Željko Lučić, Sacristan – Patrick Carfizzi
Lighting designer:David Finn