Organization

Singer

Soprano

Jasmina Trumbetaš Petrović

Floria Tosca

Suzana Šuvaković Savić

Ana Rupčić

Tenor

Dušan Plazinić

Mario Cavaradossi

Janko Sinadinović

Dejan Maksimović

Baritone

Boris Trajanov

Baron Scarpia

Miodrag D Jovanović

Aleksandar Stamatović

Pavle Žarkov

The sacristan

Mihailo Šljivić

Bass

Vuk Matić

Cesare Angelotti

Aleksandar Pantelić

Stahinja Đokić

Darko Đorđević

Spoletta

Danilo Stošić

Igor Matvejev

Sciarrone

A jailer

Child vocalist

Ivanka Raković Krstonošić

A shepherd

Jovana Čurović

Jovana Belić

Stage director

Dejan Prošev

Conductor

Ana Zorana Brajović

Costume designer

Katarina Grčić Nikolić

Set designer

Miraš Vuksanović

Chorus master

Đorđe Stanković

Assistant Conductor

Assistant Director

Ana Grigorović

Assistant Set designer

Jasna Saramandić

Video Production

Petar Antonović

National Theatre Belgrade

Others

National Theater in Belgrade

Orchestra

Belgrade Philharmonic Orchestra

Tosca

Belgrade

Serbia

National Theatre

Tosca Puccini

Public

Approved

TOSCA Puccini's Tosca is one of the most popular and most performed operas in general. Writers and commentators are constantly making new assumptions about the causes of this popularity, and record producers are delivering new and new recordings of the complete opera. It seems that a clear and concise, but exciting work, set in a suitable historical period, and two tenor and one soprano arias, with two great duets of sopranos and tenors, provide lasting success, although many thought the content was not very operatic. Back in 1889, Puccini watched a play by Sardu's Tosca in Milanwith the only Sarah Bernard in the title role, but as he could only follow the main course of the action, since he did not know French, he quickly abandoned the idea of ​​composing an opera based on this plot, which will later be covered in film. It seems that Verdi highly appreciated the content of Tosca as the basis for the opera libretto, because he allegedly stated that he would like to put it in music, if he still had enough time. After Bohemia's success, Puccini turned his attention to Tosca again in search of a suitable libretto.and having learned that the composer Franchetti had begun work on Ilika's libretto after Sardou, he succeeded, through his publisher Ricordi, in renouncing his rival's libretto, and soon Puccini himself began composing on Ilika's and Giacosa's libretto. Some resistance from the overly vain Sarduo had to be overcome, and after long and difficult negotiations, the preparations ended favorably. Numerous supporting personalities of the drama were removed from the libretto, less and less significant episodes were omitted, and everything was reduced to three rounded acts. Critics believe that Puccini, of all opera composers, had the most precise sense of the time span of the work, of measuring the length of each episode, so that neither in Tosca nor inBohemians, there is nothing superfluous, tiring, and the action is constantly moving forward, and lyrical scenes with arias and duets are in the first place. Tosca 's work, built on love, passion and jealousy, in which there are painful scenes of torture, murder, execution by shooting and suicide, is musically shaped melodically, voices are always in the foreground, although the orchestral accompaniment is convincing, expressive and masterful . Diatonics predominate, although excursions to the full scale are not uncommon, and the use of church scales is also present. In his time, the music of Toscamay have shocked the listener, from the first bars that bring the motif of Baron Scarpia in three chords that sound completely new, but today everything seems to us melodious, refined and virtuoso. Note that Toscait contains parade roles for soprano, tenor and baritone, and that whenever three great singers come together, success is more than guaranteed. Among the first great interpreters of Tosca was Milka Trnina, who celebrated triumphs in London and New York as the best Tosca. Tosca has always had great interpreters on the Belgrade stage, and all the sopranos who played the title role considered Tosca to be one of several of their best roles. Records of Renata Tabaldi with partners Giuseppe Campor and Enzo Maskerini, under the direction of Alberto Erede, then the same sopranos with Maria del Monaco and George London, under the baton of Molinari-Pradelia, are well known on gramophone records.

English

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