In 1889, Puccini attended the premiere of Victorien Sardou's drama, created for the famous actress Sarah Bernhardt: in order to emphasize whom he sees as "the same Tosca", Sardou even used the definite article ("La Tosca") in the title of the play . The brilliant performance of "The Divine Sarah" impressed Puccini so much that he immediately wanted to write an opera based on this drama. But being at that time a little-known novice author, the composer did not dare to turn to the venerable illustrious Sard. And only a few years later, when success in the opera field strengthened his reputation, Puccini, through the mediation of his publisher, persuaded the playwright to give him the story he loved so much.
Inspired by the fiery expression of Bernard, the composer dreamed of an equally talented performer of his Tosca and demanded an "ultradramatic singer" for the role of the jealous prima donna. After the restrained reception of the Rome premiere, where the coldish blonde Chariclea Darkle performed in the main role, Puccini wrote in despair: ““Longing” appeared at a sad time! Now there are no more singers! Those who sing now do not give even 30 percent of what the author intended! There are no more such dramatic temperaments as there once were! I made the mistake of writing an opera that will never be performed the way it should be!”
However, his dreams of an ideal Tosca were destined to come true! And they came true at the Mariinsky Theatre: it was here that the composer found “that same Tosca” in the person of the incredibly gifted singer Medea Figner, who reigned on the St. Petersburg stage from the late 1880s. Moreover, along with the ideal heroine, Puccini also found the ideal hero! It was embodied by Medea's husband and her stage partner, the Mariinsky tenor Nikolai Figner, who superbly played the role of Tosca Cavaradossi's lover.
Attaching great importance to the production of Tosca, Puccini pointed out that "this is an opera of bright colors and, if desired, a magnificent performance." The international team that staged Tosca on the Primorsky Stage of the Mariinsky Theater fully took into account the composer's wishes. After all, in the opera, in addition to human characters, there is another extremely important hero - the eternal city of Rome, the atmosphere of which determines the work. It also determines the performance of the seaside "Tosca", sustained in the solemn-ceremonial Empire style, where the purple-scarlet color dominates - a symbol of the power of the Roman patricians, but also the color of blood and passion.
