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Deutsche Oper Berlin

Regissör

Boleslaw Barlog

Scenograf

Regissör (+2)

Filippo Sanjust

Kostym designer

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Körledare (+2)

Thomas Richter

Körledare (+3)

Christian Lindhorst

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Orchester der Deutschen Oper Berlin

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Choir of the Deutsche Oper Berlin

Kinderchor der Deutschen Oper Berlin

Dirigent

Giampaolo Bisanti

Sopran (+2)

Elena Stikhina

Floria Tosca

Tenor (+1)

Martin Muehle

Mario Cavaradossi

Baryton (+3)

Lucio Gallo

Baron Scarpia

Kyle Miller

Cesare Angelotti

Bas-baryton (+4)

Padraic Rowan

Sakristanen

Tenor (+2)

Thomas Cilluffo

Spoletta

Baryton (+1)

Geon Kim

En fångvaktare

Youngkwang Oh

Sciarrone

Dirigent (+1)

Valerio Galli

Sopran (+3)

Sondra Radvanovsky

Fabio Sartori

Baryton (+4)

Stephen Marsh

Bas-baryton (+2)

Jared Werlein

Baryton

Ariunbaatar Ganbaatar

Tenor (+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

Medverkande

Floria Tosca

Mario Cavaradossi

Il Barone Scarpia

Cesare Angelotti

Il Sagrestano

Spoletta

Un carceriere

Sciarrone

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