Floria Tosca is an opera singer, a diva, but in Victorien Sardou’s play – and in Puccini’s opera – we mainly see her as a woman in love, tormented by jealousy, whose life is shattered by a powerful, unprincipled man who does not hesitate to sentence her lover to death and blackmail her into submitting to his desires in her desperate attempt to save him. Director Robert Carsen, in his 1990 production, focuses almost entirely on “the diva”. The setting is in a theatre: in the first act Cavaradossi is painting the scenery, and the Te Deum is sung by the audience in the orchestra stalls. The second act is backstage, while Tosca sings on a stage the other side of the backdrop, and the third act takes place on stage, as seen from the back.
Lighting (courtesy of Davy Cunningham) greatly enhances this particular production. Shafts of light come in from all angles, protagonists hide in the shadows, whilst there is a row of very bright stage lights at the end, after Tosca leaps to her death – not into the River Tiber (which, in reality, one probably cannot quite reach from the top of the Castel Sant’ Angelo) but into the pretend orchestra pit at the back of the real stage.
