Organization

Singer

Baritone

Rafał Pawnuk

The sacristan

Bass

Sciarrone

A jailer

Soprano

Kristīne Opolais

Floria Tosca

Tenor

Jonathan Tetelman

Mario Cavaradossi

Gábor Bretz

Baron Scarpia

Ivan Zinoviev

Cesare Angelotti

Andrew Morstein

Spoletta

Stage director

Martin Kušej

Conductor

Ingo Metzmacher

Lighting designer

Reinhard Traub

Costume designer

Su Sigmund

Set designer

Annette Murschetz

Dramaturge

Regula Rapp

Chorus master

Erwin Ortner

Sophie Aujesky

Contessa Attavanti

Marc Albrecht

Michael Zlabinger

MusikTheater an der Wien

Others

Arnold Schoenberg Chor

Orchestra

ORF Vienna Radio Symphony Orchestra

италиански

Tosca

Vienna

Austria

Theater an der Wien

Giacomo Puccinis „Tosca“ wurde 1900 in Rom uraufgeführt und ist eines der wichtigsten Werke des Verismo. Zutiefst menschliche Gefühle wie Liebe, Eifersucht, Verrat und Willkür stehen dabei im Mittelpunkt des Geschehens und machen die Oper zu einem Dauerbrenner der Opernliteratur. Puccini wollte mit seiner „Tosca“ das Publikum nicht rühren, sondern es aufrütteln. „Die Stimmung der Tosca ist nicht romantisch und lyrisch, sondern leidenschaftlich, qualvoll und düster. (...) Bis jetzt waren wir sanft, jetzt wollen wir grausam sein.", skizzierte er in einem Brief an seinen Librettisten.

Im Theater an der Wien setzt Burgtheater-Direktor Martin Kušej diesen „Thriller der Gewalt und der großen Emotionen“ nun so in Szene, wie man ihn, so sagt er, „noch nie gesehen hat“. Ihn interessiert die Konzentration auf das, was Puccini bereits angelegt hat: „Mein Ziel ist es, Puccinis radikale Ansätze ins 21. Jahrhundert zu transformieren. (…) Puccinis Oper verbindet grandiose Musik unfassbar direkt mit einer brutalen Geschichte, das macht sie so aufregend. Ich glaube nicht, dass das ein Widerspruch sein muss, und das will ich erzählen. Dazu kommt, dass ich ein Interesse an diesem singulären Werk des klassischen Repertoires auch deshalb habe, weil ich gewisse Grenzüberschreitungen in der Opern-Rezeption für unabdingbar halte. Wir müssen direkt an die Musik ran, an die Texte und an die Schauplätze.“

Die lettische Sopranistin Kristīne Opolais, die mit ihrem Spiel auch immer wieder Grenzen überschreitet und mit der Martin Kušej bereits in Rusalka erfolgreich zusammengearbeitet hat, steht in seiner Inszenierung als Floria Tosca im Fadenkreuz von Politik und Kunst, Liebe und Begehren. Der chilenische Tenor Jonathan Tetelman verkörpert den politisch freiheitlich gesinnten Maler Mario Cavaradossi. Ingo Metzmacher steht am Pult des ORF Radio-Symphonieorchesters Wien.

Tosca Puccini

Public

немски

Approved

Rome, 1800: Cesare Angelotti was able to escape from Castel Sant'Angelo, the notorious state prison, where he had to spend his days as a political prisoner. He sought refuge in the church of Sant'Andrea della Valle, where he met his friend, the painter Mario Cavaradossi. Suddenly his lover, opera singer Floria Tosca appears: She is suspicious because the church door was locked and jealous because Cavaradossi's Madonna painting looks very similar to a real lady. But Cavaradossi can defuse the situation. Tosca leaves. Angelotti and Cavaradossi forge escape plans alone again - a cannon shot signals that Angelotti's escape has been noticed. They both leave the church. While the choir is rehearsing, Police Chief Scarpia bursts in and has the church searched for the fugitive Angelotti. Tosca also comes to church again. Scarpia has been informed of the relationship between her and Cavaradossi and wants to make her jealous. He succeeds. He later lures Tosca to the Palazzo Farnese, and the arrested Cavaradossi is also brought before him. Cavaradossi is said to be tortured until Tosca reveals Angelotti's hiding place, which she does and which angered Cavaradossi. Scarpia orders Cavaradossi to be shot, but if Tosca indulges him, he would release Cavaradossi. She agrees, and Scarpia promises that it will be a mock shooting. Tosca negotiates a letter of safe conduct from Scarpia so that she and Cavaradossi can leave Rome. While he is writing this letter, she stabs him. Then she cleans her hands, Scarpia takes the letter from her dead fingers, straighten her hair and go. In Castel Sant'Angelo she reports to Cavaradossi that the shooting was only being faked and tells him what to do: After the first shot, fall to the ground and lie there. However, it is not a fake commando, Scarpia had given instructions to actually kill Cavaradossi. The police have now found Scarpia's body and are after Tosca. When she realizes that Cavaradossi is really dead, she storms to the top of Castel Sant'Angelo and throws herself from there to her death. The police have now found Scarpia's body and are after Tosca. When she realizes that Cavaradossi is really dead, she storms to the top of Castel Sant'Angelo and throws herself from there to her death. The police have now found Scarpia's body and are after Tosca. When she realizes that Cavaradossi is really dead, she storms to the top of Castel Sant'Angelo and throws herself from there to her death.

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