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The Metropolitan Opera

Dirección de escena

Dirección de escena (+5)

David McVicar

Escenografía

Diseño de vestuario (+1)

John Macfarlane

Diseño de vestuario

Iluminación

Iluminación (+2)

David Finn

Coreografía

Coreografía (+1)

Leah Hausman

Bajobarítono (+3)

Patrick Carfizzi

Un sacristán

Orchestra

Metropolitan Opera Orchestra

Metropolitan Opera House

Dirección coral

Dirección coral (+2)

Tilman Michael

Kevin Short

Cesare Angelotti

Vocalista infantil

Luka Zylik

Un pastor

Dirección orquestal

Xian Zhang

Bajobarítono (+6)

Christopher Job

Sciarrone

Tenor (+2)

Tony Stevenson

Spoletta

Tenor (+1)

Spencer Hamlin

Soprano (+3)

Aleksandra Kurzak

Floria Tosca

SeokJong Baek

Mario Caravadossi

Barítono (+1)

George Gagnidze

Barón Scarpia

Bajobarítono (+4)

Christian Pursell

Bajo (+4)

William Meinert

Un carcelero

Soprano (+2)

Lise Davidsen

Sondra Radvanovsky

Tenor (+4)

Freddie De Tommaso

Brian Jagde

Barítono (+3)

Quinn Kelsey

Bajobarítono (+5)

Bryn Terfel

Dirección orquestal (+3)

Yannick Nézet-Séguin

Bajo (+3)

William Guanbo Su

Bajo (+2)

Benjamin Sieverding

Ariadne Chan-Miller

Richard Bernstein

Marco Armiliato

Le Bu

Three thrilling leading ladies trade off as the volatile diva Floria Tosca. First, soprano Aleksandra Kurzak reprises her riveting portrayal of the title role, starring alongside tenor SeokJong Baek as her revolutionary lover, Cavaradossi, and baritone George Gagnidze as the sadistic chief of police Scarpia. Later in the season, the extraordinary Lise Davidsen sings Tosca for her first time at the Met, alongside tenor Freddie De Tommaso in his eagerly anticipated company debut and powerhouse baritone Quinn Kelsey. And in the winter, soprano Sondra Radvanovsky and tenor Brian Jagde reunite following their acclaimed 2021 performances of the lead pair, joining forces with legendary bass-baritone Bryn Terfel, who returns to the Met after more than a decade. Maestro Xian Zhang conducts.

No opera is more tied to its setting than Tosca, which takes place in Rome on the morning of June 17, 1800, through dawn the following day. The specified settings for each of the three acts—the Church of Sant’Andrea della Valle, Palazzo Farnese, and Castel Sant’Angelo—are familiar monuments in the city and can still be visited today. While the libretto takes some liberties with the facts, historical issues form a basis for the opera: The people of Rome are awaiting news of the Battle of Marengo in northern Italy, which will decide the fate of their symbolically powerful city.

The score of Tosca (if not the drama) itself is considered a prime example of the style of verismo, an elusive term usually translated as “realism.” The typical musical features of the verismo tradition are prominent in Tosca: short arias with an uninhibited flood of raw melody, ambient sounds that blur the distinctions between life and art, and the use of parlato—words spoken instead of sung—at moments of tension.

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