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Giacomo Puccini, Tosca

Overture

I: Ah! Finalmente!

I: E sempre lava!

I: Dammi i colori... Recondita armonia

I: Gente là dentro!

I: Or lasciami al lavoro

I: È buona la mia Tosca

I: Un tal baccano in chiesa!

Act II

II: Tosca è un buon falco!

II: Ha più forte sapore

II: Ed or fra noi parliam da buoni amici... Sciarrone, che dice il cavalier?

II: Orsù, Tosca, parlate

II: Nel pozzo... Del giardino

II: Vissi d'arte

II: Vedi, le man giunte io stendo a te!

II: Tosca, finalmente mia!

Act III

III: Mario Cavaradossi? A voi

III: E lucevan le stelle

III: Ah! Franchigia a Floria Tosca

III: O dolci mani mansuete e pure

III: Presto! Su, Mario! Mario! Su! Presto! Andiam!

Puccini's Tosca

Hugo de Ana (stage director), Francesco Ivan Ciampa (conductor) – With Sonya Yoncheva (Floria Tosca), Vittorio Grigòlo (Mario Cavaradossi), Roman Burdenko (Il barone Scarpia)

Opera
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Cast

Hugo de Ana — Stage director, lighting designer, set and costume design

Sonya Yoncheva — Floria Tosca

Vittorio Grigòlo — Mario Cavaradossi

Roman Burdenko — Il barone Scarpia

Giorgi Manoshvili — Cesare Angelotti

Giulio Mastrototaro — Il sagrestano

Carlo Bosi — Spoletta

Program notes

In 1889, Puccini attended a play—written by Victorien Sardou and performed by the great Sarah Bernhardt—whose main character exuded theatricality. He bought the rights to this passionate drama, and after a few years' work and two operas—Manon Lescaut (1893) and La Bohème (1896)—it was Tosca's turn to be revealed to the general public. Although the work was not an immediate success, it is now widely recognized as one of opera's finest masterpieces. Sung for over a century by the greatest voices, witness Sonya Yoncheva take on the mythical role, accompanied by the talented Vittorio Grigòlo and Roman Burdenko—in a superb staging at the Arena in Verona, staged by Hugo de Ana!

Rome, June 1800, painter Mario Cavaradossi comes to the aid of a political prisoner, Angelotti, hunted by the dreadful police chief Scarpia, an instrument of the authoritarian regime's arbitrary justice. While his gesture is commendable, it is not without consequences, for Scarpia, long in love with the painter's lover Floria Tosca, sees it as a means to an end. By manipulating Tosca, an opera singer, he hopes to possess her, recover Angelotti, and condemn Cavaradossi. Tosca, subjected to Scarpia's cunning assaults, soon becomes the plaything of his desires and cruelties. She manages to escape by manipulating him in turn, stabbing him as part of a clever seduction routine. Now free again, she hopes to escape with Mario, but has no idea of the cruel outcome that awaits them, and that is drawing ever closer...

Photo © Ennevi Foto

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