Admin

Deutsche Oper Berlin

Mise en scène

Boleslaw Barlog

Décors

Mise en scène (+2)

Filippo Sanjust

Costumes

Direction de choeur

Direction de choeur (+2)

Thomas Richter

Direction de choeur (+3)

Christian Lindhorst

Orchestra

Orchester der Deutschen Oper Berlin

Chorus

Choir of the Deutsche Oper Berlin

Kinderchor der Deutschen Oper Berlin

Direction d'orchestre

Giampaolo Bisanti

Soprano (+2)

Elena Stikhina

Floria Tosca

Ténor (+1)

Martin Muehle

Μario Cavaradossi

Baryton (+3)

Lucio Gallo

Le Baron Scarpia

Kyle Miller

Cesare Angelotti

Baryton-basse (+4)

Padraic Rowan

Le Sacristain

Ténor (+2)

Thomas Cilluffo

Spoletta

Baryton (+1)

Geon Kim

Un geôlier

Youngkwang Oh

Sciarrone

Direction d'orchestre (+1)

Valerio Galli

Soprano (+3)

Sondra Radvanovsky

Fabio Sartori

Baryton (+4)

Stephen Marsh

Baryton-basse (+2)

Jared Werlein

Baryton

Ariunbaatar Ganbaatar

Ténor (+5)

Jörg Schörner

Joel Allison

Baryton (+5)

Matthias Henneberg

As in all operas by Puccini, TOSCA is an illustration of how human attentiveness and pleasures of the palate can be mutually dependent if the composer’s artistic intentions become a benchmark for directorial interpretation. Puccini’s humane attentiveness is essentially dependent on an outcry and/or a sense of resignation. The pity inherent in his music does not content itself with abstract gestures; it wants to unsettle, to bring about change. Out of the “small things” named by Puccini as the source of his inspiration and the focus of his music “big things” grow – as long as we want them. Puccini’s choice of material owes something, directly or indirectly, to the spirit of Zola, Gorki and Hauptmann, and the link between that material and his compositional style places him likewise as a direct descendant of Verdi and an exponent of verismo. He was also known as an admirer of Wagner, although a Wagner imitator he assuredly was not.

It was more a case of a personal connection based on selected achievements of both composers. Grappling with the bundled subtleties of harmony and nuances of instrumentation, he still uncovered a voice from the orchestral cross-hatching and gave it an accompagnato that was considerably more fractured and refined than the radical and laconic Verdi was wonted to do. This is also a reflection of the aesthetic themes of TOSCA. The music exudes brutality, intelligence and exactitude but also tenderness, sentimentality and a dream-like quality. Puccini set great store on musical precision, social awareness, a tactical heroism, the poetics of the seemingly hum-drum, the contrast between aloofness and passionate involvement, and following his true north.

Scarpia, the police chief, Floria Tosca, a singer, and Cavaradossi, a painter, are all bent on achieving their own personal forms of liberty. Scarpia’s is all about asserting his idea of power; Cavaradossi’s is that of the freedom fighter seeking systemic change; Tosca’s is the release that comes with private, straightforward, unbounded love. At a pivotal time of major upheaval these urges assume a heightened significance. Depending on the stance that we see ourselves and Puccini in at that moment in time, TOSCA either remains a grisly love story or ends up as a portent of “freedom”. In any event, each of the three very different protagonists pay for their part in this triangular clinch with their lives. There is nothing redemptive about their deaths, which are grim, violent and definitive.

Tosca, Puccini

Distribution

Floria Tosca

Mario Cavaradossi

Il Barone Scarpia

Cesare Angelotti

Il Sagrestano

Spoletta

Un carceriere

Sciarrone

Équipage

Mise en scène

Direction d'orchestre

Décors

Costumes

Direction de choeur

Instrumentation

Producteur

Producteur

Ensemble

Orchestre

Chœur

Coproducteur

Vidéos liées

Photos

À propos de

Compositeur

Livret

Description

Synopsis de la Production