Opera
Tosca
, , , April 2024
The opera
- Composer
- Giacomo Puccini
Conductor and director
-
Conductor
Oksana Lyniv
-
Director Giovanni Scandella
Characters and cast
-
Le Gouverneur Adolfo Corrado
-
Floria Tosca Maria Agresta
-
Tenor
Mario Cavaradossi
Roberto Aronica
-
Barone Scarpia Gabriele Viviani
-
Cesare Angelotti Christian Barone
-
Sagrestano Paolo Maria Orecchia
-
Spoletta Paolo Antognetti
-
Sciarrone Nicolò Ceriani
-
Carceriere Christian Barone
-
Conductor
Maestro del coro voci bianche
Alhambra Superchi
-
Le Gouverneur Adolfo Corrado
-
Floria Tosca Carmen Giannattasio
-
Tenor
Mario Cavaradossi
Roberto Aronica
-
Barone Scarpia Gabriele Viviani
-
Cesare Angelotti Christian Barone
-
Sagrestano Paolo Maria Orecchia
-
Spoletta Paolo Antognetti
-
Sciarrone Nicolò Ceriani
-
Carceriere Christian Barone
-
Conductor
Maestro del coro voci bianche
Alhambra Superchi
-
Le Gouverneur Adolfo Corrado
-
Floria Tosca Maria Agresta
-
Tenor
Mario Cavaradossi
Roberto Aronica
-
Barone Scarpia Gabriele Viviani
-
Cesare Angelotti Christian Barone
-
Sagrestano Paolo Maria Orecchia
-
Spoletta Paolo Antognetti
-
Sciarrone Nicolò Ceriani
-
Carceriere Christian Barone
-
Conductor
Maestro del coro voci bianche
Alhambra Superchi
-
Le Gouverneur Adolfo Corrado
-
Floria Tosca Carmen Giannattasio
-
Tenor
Mario Cavaradossi
Roberto Aronica
-
Barone Scarpia Gabriele Viviani
-
Cesare Angelotti Christian Barone
-
Sagrestano Paolo Maria Orecchia
-
Spoletta Paolo Antognetti
-
Sciarrone Nicolò Ceriani
-
Carceriere Christian Barone
-
Conductor
Maestro del coro voci bianche
Alhambra Superchi
Chorus
-
Chorus Coro voci bianche del TCBO
-
Chorus master Gea Garatti Ansini
Dates and tickets
Dates and performances
-
Opening nightAt 20:00
-
Single performance slotAt 18:00
-
Single performance slotAt 16:00
-
Single performance slotAt 20:00
Venue
Comunale Nouveau
Details
- Production
- A production of Teatro Comunale di Bologna
- Information
-
NEW SUBSCRIPTIONS AVAILABLE – SEE THE PRICES. TICKETS AVAILABLE FROM 5 DECEMBER – SEE THE PRICES
Power that crushes desires and ideals. Religion mixed with politics and used as a tool of oppression. La Tosca, Sardou’s drama set in papal Rome on the day of the battle of Marengo (14 June 1800), had struck Verdi, but by then it was the turn of a new generation. It was Puccini who set to music the love of the diva Tosca for the painter Cavaradossi, with his Napoleonic sympathies, and the abuses of the chief of police, Baron Scarpia, a «bigoted satyr» identified with a theme — not by chance built on the interval known as the diabolus in musica — that pervades the opera from the first bars. A dense orchestral web interwoven with the voices tightens an action that allows few, strategic releases of tension. Above all, the moment when Tosca asks God how she has deserved such pain («Vissi d’arte»): out of that stillness the diva in love finds the resolve to become a tragic and revolutionary heroine, a tyrant-slayer and suicide who challenges Scarpia to a last reckoning, «before God».
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