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The Metropolitan Opera

Stage director

Stage director (+5)

David McVicar

Set designer

Costume designer (+1)

John Macfarlane

Costume designer

Lighting designer

Lighting designer (+2)

David Finn

Choreographer

Choreographer (+1)

Leah Hausman

Bass-baritone (+3)

Patrick Carfizzi

The sacristan

Orchestra

Metropolitan Opera Orchestra

Metropolitan Opera House

Chorusmaster

Chorusmaster (+2)

Tilman Michael

Kevin Short

Cesare Angelotti

Child vocalist

Luka Zylik

A shepherd

Conductor

Xian Zhang

Bass-baritone (+6)

Christopher Job

Sciarrone

Tenor (+2)

Tony Stevenson

Spoletta

Tenor (+1)

Spencer Hamlin

Soprano (+3)

Aleksandra Kurzak

Floria Tosca

SeokJong Baek

Mario Cavaradossi

Baritone (+1)

George Gagnidze

Baron Scarpia

Bass-baritone (+4)

Christian Pursell

Bass (+4)

William Meinert

A jailer

Soprano (+2)

Lise Davidsen

Sondra Radvanovsky

Tenor (+4)

Freddie De Tommaso

Brian Jagde

Baritone (+3)

Quinn Kelsey

Bass-baritone (+5)

Bryn Terfel

Conductor (+3)

Yannick Nézet-Séguin

Bass (+3)

William Guanbo Su

Bass (+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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