Organization

Diretor de Palco

Mario Pontiggia

Cenógrafo

Francesco Zito

Estilista

Designer de Iluminação

Bruno Ciulli

Mestre de Coro

Luka Vukšić

Soprano

Kristina Kolar

Floria Tosca

Martina Serafin

Tenor

Tomislav Mužek

Mario Cavaradossi

Stjepan Franetović

Barítono

Davor Radić

Barão Scarpia

Dalibor Hanzalek

Giorgio Surian

Baixo

Siniša Štork

Cesare Angelotti

Toni Nežić

Marin Čargo

Um sacristão

Ivan Šimatović

Nikša Radovanović

Spoletta

Filip Filipović

Matic Zakonjšek

Sciarrone

Jurica Jurasić Kapun

Vocalista Infantil

Lucija Jelušić

Um pastor

Stefani Pijetlović

Boris Beus

Um carcereiro

Lobel Barun

Maestro

Andreas Gies

Alla Kulbaba

Tradutor

Marina Glavaš

HNK Zagreb

Orchestra

Orkestar Opere Hrvatskoga Narodnog Kazalista u Zagrebu

Others

Choir HNK Zagreb

Tosca

Zagreb

Croácia

Tosca Puccini

Public

Approved

Instrumentalist

Pianista

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da Gambist

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Compositor

Libretista

Coreógrafo

Dançarino

Ator

Designer de Vídeo

Dramaturgo

Designer de Som

Repetidor

Maquiador

Produtor executivo

Estilista de cabelo

Other

Stage Manager

Coral

Orquestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Singer

Mezzo-soprano

Contratenor

Baixo-barítono

Contralto

Spoken

Silent

Alto

Continuo

Tosca is a particularly dear opera to Argentine director Maria Pontigga. With her, he made his debut at the Teatro Regio in a production that, during ten years of performance, has experienced great success in various theaters throughout Italy, France and Spain.

 What weight does history have with a large P; Napoleon, the Battle of Marengo and so on, in the story of Floria Tosca and Maria Cavaradossi?

Although I have been a passionate lover of history and biography since I was a child, that doesn't mean that I won't use a link to another era in certain operas if I find it in a shop. But in the case of Tosca, many places allude to June 17, 1800, when news of the Battle of Marengo arrived in Rome three days earlier, so the only logical way to change the era would be to change the text to historical facts. so as not to contradict the numerous historical events mentioned in the libretto: Angelotti as Consul of the Roman Republic, Castelo Sant'Angelo as a state prison, Bonaparte, the Battle of Marengo, Marshal von Melas, Queen Carolina, etc. Moving the action to another state the dictatorships of the 20th century, whether Italian, Spanish, Russian or Polish - this has already been shown. But for me, a fanatic of the stage word, the text of the opera itself refutes such an approach. History in Tosca is nothing but a credible frame of a black comedy. This production of ours was created in Florence in 2008, and it was shaped by the explicit desire of the Theater to design the classic Tosca, and we stuck to that. Set designer Francesco Zito has designed realistic locations where the story is told, and we treat historical references in the same way.

 What will we see on stage?

We all concluded that we would concentrate on the real elements that were affected by the dramatic space. In the first act, the view of the enormous dome of Sant'Andree della Vale represents an institutional burden that threatens and suffocates the individual, in a space that is as diligently hosting love outbursts between the diva and the painter as the protocol Te Deum. In the second act, the elegant chamber of the Farnese Palace becomes a space for the psychological torture of lovers, while in the room next to it a real physical torture takes place. In the third act, the space is somewhat more neutral, with a huge lattice that separates the prison from the emptiness like a guillotine, thus severing the bond of lovers who set out in search of freedom. As for the costumes, they are in keeping with the context of the 19th century; in Scarpija's Rome, our production is dominated by black and church colors.

English

Tosca by Puccini, ter 31 mai 2022, De (2022/2022), Dirigido por Mario Pontiggia,, Regente Andreas Gies, Alla Kulbaba, HNK, Zagreb, Croácia

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