Organization

Assistant Conductor

Andreas Gies

Assistant Set designer

Antonella Conte

Assistant Director

Martina Zdilar Sertić

Singer

Baritone

Stefano Meo

Baron Scarpia

Bass

Benjamin Shuran

A jailer

Robert Palić

Child vocalist

Andrija Bošković

A shepherd

Mirjan Josip Mundweil

Stage director

Mario Pontiggia

Set designer

Francesco Zito

Costume designer

Lighting designer

Bruno Ciulli

Chorus master

Luka Vukšić

Soprano

Kristina Kolar

Floria Tosca

Tenor

Stjepan Franetović

Mario Cavaradossi

Davor Radić

Siniša Štork

Cesare Angelotti

Toni Nežić

Nikša Radovanović

Spoletta

Matic Zakonjšek

Marin Čargo

Sciarrone

Jurica Jurasić Kapun

Translator

Marina Glavaš

Conductor

Pier Giorgio Morandi

Valentina Fijačko

Lana Kos

Carlo Ventre

Ozren Bilušić

The sacristan

Ivo Gamulin

HNK Zagreb

Orchestra

Orkestar Opere Hrvatskoga Narodnog Kazalista u Zagrebu

Others

Choir HNK Zagreb

Tosca

Zagreb

Croatia

Public

Approved

LJUBAV UPLETENA U DRŽAVNE POSLOVE

Tosca je argentinskom redatelju Mariju Pontiggi posebno draga opera. S njome je debitirao u Teatro Regio u produkciji koja je tijekom deset godina izvođenja doživjela velike uspjehe u raznim kazalištima diljem Italije, Francuske i Španjolske.

 Kakvu težinu ima povijest s velikim P; Napoleon, bitka kod Marenga i tako dalje, u priči o Floriji Tosci i Mariju Cavaradossiju?

Iako sam pasionirani ljubitelj povijesti i biografija još od malih nogu, to ne znači da neću u određenim operama iskoristiti poveznicu s nekom drugom epohom ako je pronađem u radnji. Ali u slučaju Tosce na mnogim se mjestima aludira baš na 17. lipnja 1800.  kada je u Rim stigla vijest o bitki kod Marenga koja se dogodila tri dana ranije, pa bi jedini logičan način mijenjanja epohe bio promijeniti tekst koji se odnosi na povijesne činjenice, kako ne bi bilo kontradikcije s brojnim povijesnim zbivanjima koja se navode u libretu: Angelotti kao konzul Rimske Republike, Castelo Sant'Angelo kao državni zatvor, Bonaparte, bitka kod Marenga, maršal von Melas, kraljica Karolina itd. Pomicanje radnje u doba neke druge državne diktature 20. stoljeća, bilo talijanske, španjolske, ruske ili poljske - to je već bilo prikazano. Ali za mene, fanatika scenske riječi, sam tekst opere opovrgava takav pristup. Povijest u Tosci nije drugo do vjerodostojan okvir jedne crne komedije. Ova naša produkcija nastala je u Firenci 2008., a oblikovala ju je izričita želja Teatra da osmislimo klasičnu Toscu i toga smo se držali. Scenograf Francesco Zito je osmislio realistične lokacije u kojima se priča pripovijeda, a na isti se način odnosimo i prema povijesnim referencama.

 Što ćemo vidjeti na sceni?

Svi smo zaključili kako ćemo se koncentrirati na stvarne elemente kojima je pogodovao dramatičan prostor. U prvome činu pogled na enormno veliku kupolu Sant'Andree della Vale predstavlja institucionalan teret koji prijeti i guši pojedinca, u jednome prostoru koji jednako vrijedno ugošćuje ljubavne izljeve između dive i slikara kao i protokolarni Te Deum. U drugome činu elegantna odaja palače Farnese postaje prostor za psihološko mučenje ljubavnika, dok se u prostoriji do nje odvija pravo tjelesno mučenje. U trećemu činu prostor je nešto neutralniji, uz golemu rešetku koja poput giljotine razdvaja sâm zatvor od praznine, time presijecajući vezu ljubavnika koji su krenuli u potragu za slobodom. Što se kostima tiče, oni u skladu s kontekstom 19. stoljeća; u Scarpijinu Rimu u našoj produkciji dominira crna te crkvene boje. Jedine svijetle točke su kostimi Tosce i Cavaradossija.

hrvatski

LOVE INVOLVED IN STATE AFFAIRS

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

 What weight is history with a capital P; Napoleon, the Battle of Marengo and so on, in the story of Floria Tosca and Mario Cavaradossi?

Although I have been a passionate lover of history and biographies since I was a child, this does not mean that I will not use a link with another era in certain operas if I find it in the plot. But in the case of Tosca, in many places it is alluded to on June 17, 1800, when the news of the Battle of Marengo, which took place three days earlier, reached Rome, so the only logical way to change the epoch would be to change the text that refers to historical facts, in order 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 Caroline, etc. Moving the plot to the era of another state dictatorships of the 20th century, whether Italian, Spanish, Russian or Polish - this has already been shown. But for me, fanatics of stage words, the very text of the opera refutes such an approach. History in Tosca is nothing more than the 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 create a classic Tosca, and we stuck to that. Set designer Francesco Zito 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 decided that we would concentrate on the real elements that benefited from the dramatic space. In the first act, the view of the enormously large dome of Sant'Andrea della Vale represents an institutional burden that threatens and suffocates the individual, in a space that hosts the outpourings of love between the diva and the painter as well as the protocol Te Deum. In the second act, the elegant chamber of the Farnese palace becomes a space for the lovers' psychological torture, while in the room next to it real physical torture takes place. In the third act, the space is somewhat more neutral, with a huge lattice that, like a guillotine, separates the prison itself from the void, thereby cutting the bond between the lovers who set off in search of freedom. As for the costumes, they are in keeping with the context of the 19th century; in Scarpia's Rome, our production is dominated by black and church colors.

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