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Pastorello LOGAN LOPEZ GONZALEZ (MM Academy Soloist)Ĭo-production OPÉRA DE MONTPELLIER, TEATRO DEL LICEU BARCELONA, TEATRO DE LA MAESTRANZA SEVILLA Sciarrone KAMIL BEN HSAÏN LACHIRI (MM Academy Laureate) With the exceptional collaboration of Santiago Ydáñez for the paintingsįloria Tosca MYRTÒ PAPATANASIU (11, 15, 17, 19, 24 & 27.06, 01.07)
#Tosca opera full
Reduction of the full orchestral score by Frédéric Chaslin This production of “Tosca” contains references to the film “Salò o le 120 giornate di Sodoma” by Pier Paolo Pasolini, which might be considered offensive by some spectators.ĭirection & Costumes RAFAEL R. Surtitles in Dutch and French Running time In the orchestra pit, Alain Altinoglu will reveal all the power and intensity of Puccini’s most celebrated score, which, with its recurrent motifs and eloquent vocal lines, raised the art of Italian singing to new heights. How can you cling to your faith when all around you seems to be tainted by corruption and despotism? How will Floria Tosca react when the boundary between unscrupulous power and religious dogma turns out to be threadbare? On his La Monnaie debut, the Spanish director Rafael R Villalobos turns a spotlight on the political, moral, and religious pressure that the Vatican exercised on the characters in Tosca. In this new production of Tosca, La Monnaie sets out to address a subject that is highly topical: the fear of God as a means to political domination.
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Surely all lovers of great singing would have rushed forward to pull her out.Programme & calendar / Opera E avanti a Lui tremava tutta Roma - Floria Tosca, end of Act Two Tosca shot herself (as she had Scarpia), but I wonder if the director considered that Tosca should follow the libretto and leap from the walls of the Castel Sant’Angelo into the stagnant lake below, our handy surrogate River Tiber. Natalya Romaniw, a diva to her fingertips, was an ideal Floria Tosca, fierily jealous and ferociously vengeful, not least when urging the slain Scarpia to get on with it and "Die!" Vocally and histrionically here was a Tosca to grace any opera house, let alone a walk in the park. Scarpia can exude more menace when oleaginous, scarier when suave than when snarling, and Wood had that balance just right. Roland Wood’s stage presence and rich baritone made him a formidable Scarpia, dominating even the fine ENO Chorus in the Te Deum. Only David Junghoon Kim’s highly promising Cavaradossi – he already has the voice for this heavy role – tired perhaps, sounding handicapped by wrapping Puccini’s vocal lines around an English text. His three leads would have served well in many a production. Richard Farnes pulled no punches in his vivid direction of the score, and the ENO Orchestra responded with passion and verve, not just volume. Chilliness apart, we were in nocturnal Rome. The work, based on Victorien Sardous 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Napless control of Rome threatened by Napoleons invasion of Italy. Seemingly confirming her suspicions about her lover’s infidelity, Tosca is devastated. Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa.It premiered at the Teatro Costanzi in Rome on 14 January 1900. When Tosca comes back looking for Cavaradossi, Scarpia shows her a fan with the Attavanti crest that he has just found. In the case of the many bell sounds, it was evocative to hear them in the open air, liberated from the dry opera house to resonate under the night sky, every overtone audible. At the height of their excitement, Baron Scarpia, chief of the secret police, arrives, searching for Angelotti. The Royal Operas Tosca on DVD, starring Angela Gheorghiu, Jonas Kaufmann, Bryn Terfel, with Antonio Pappano conducting, is available from the Met Opera.
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Generally the balance was enjoyably bass-heavy the four trombones and contrabassoon very telling whenever Puccini used them, Scarpia's motif thunderous on his Act 1 entry. But this is not a vast space, and by Act 3 some of the tuttis might have been heard in Battersea, while a very loud Cavaradossi competed with an equally loud solo clarinet in his big number. Doubtless this happens when you must project past the seated front rows to those on their picnic blankets further back. More worrying at several points was the sound system, which, perhaps in that same spirt, privileged impact over refinement – and later on seemed to draw the performers into the same trade-off. All this was in the laudable spirit of the occasion – lower prices, less formality, greater inclusion.