When Giacomo Puccini attended a performance of La Tosca, the play by Victorien Sardou, during a tour by Sarah Bernhardt in Milan, he was immediately seduced by the power of the drama. Love, politics, sadism and religion: all these ingredients come together in the story of the jealous and impulsive singer Floria Tosca, in love with the idealist Mario Cavaradossi, in an Italy struggling for its independence. Eleven years later, in 1900, Puccini created his opera Tosca in Rome and triumphed. At the height of his art, the composer hits hard as soon as the curtain goes up with five striking chords that evoke the infamous chief of police Scarpia, whose thirst to possess the diva knows no bounds. In Pierre Audi's staging, created in 2014 at the Opéra national de Paris, the crushing shadow of a cross hovers, figure of the collision of political and religious oppression. A reading that skilfully lays down the lines of the drama and lays bare the tragic mechanics of the work.