Puccini Tosca

Tosca is a story of lust and crime, originally written for Sarah Bernhardt by the French playwright, Victorien Sardou. Puccini’s genius lay in his remarkable ability to transform such a tale into an opera of the highest drama and passion. Tosca was central to Puccini’s career and revealed a new refinement and fluency in his work. Through Tosca, a drama of idealistic young love, Puccini was bidding farewell to young manhood, with melodic style and rousing passion.This production of one of Puccini’s best-loved works from the magnificent Roman amphitheatre in Verona features the outstanding performances of Eva Marton in the title role, with Ingvar Wixell as a superbly wicked Scarpia and Giacomo Aragall as the ill-fated Cavaradossi.

Contemporary Rome is the setting for this unique and highly innovative version of Puccini’s Tosca, performed in the Roman locations – and at the same times of day – as Puccini had written into his score. Thus the action opens in the beautiful 16th-century church of Sant’Andrea della Valle at noon, where Cavaradossi (Domingo) meets the fugitive Angelotti, moves to the Farnese Palace that evening where Tosca (Catherine Malfitano) dramatically makes a pact with the lustful Scarpia (Ruggero Raimondi), and finally to the battlements of the Castel Sant’Angelo at dawn the following day where the final drama is played out.

Luciano Pavarotti will always be associated with the role of the painter Cavaradossi in Puccini's Tosca. His interpretations of the arias "Recondita armonia" and "E lucevan le stelle" became two of his greatest hits, which he sang at all his stadium concerts .

Tosca was revived to great acclaim at La Scala in this 2000 production, which built on Luca Ronconi's 1996 version with musical direction from principal conductor Riccardo Muti and Lorenza Cantini's nightmarishly distorted set. Puccini's most recorded opera is loved and derided in equal measure for its high-octane dramatics, rich arias and the fire-spitting exchanges of the eponymous heroine and her wily tormentor Scarpia. Under Muti, the music takes precedence over the self-conscious theatricality of the book. As a result, some high dramatic points–the stabbing, always tricky, and Tosca's suicide, equally dicey–are underplayed here.

"This is certainly one of the most stunning productions in a house famous for stunning productions." (Newark Star-Ledger) "Behrens sang admirably in her own exciting style, with the bright tone and house-filling penetration that we have come to expect of this artist". (The New York Times) " Domingo's Cavaradossi is a gorgeous piece of singing". (New York magazine)

This gripping and visually stunning film has been universally hailed as one of the most satisfying of all versions of opera on celluloid. Director Gianfranco de Bosio has given an extraordinary dimension of realism to this story of love, deception and murder by shooting it all in the original Roman location. Using diverse cinematic tricks and imaginative camerawork, this opera film is much more a visual interpretation of Puccini’s music than a theatre piece filmed in original settings.

The Rundfunk-Sinfonieorchester Berlin and conductor Carlo Montanaro present a powerful interpretation of Giacomo Puccini’s Tosca, together with a cast of soloists including Melody Moore (Tosca), Ștefan Pop (Cavaradossi) and Lester Lynch (Scarpia). Tosca has been an audience favourite from the onset. Premiered in 1900, it marks the beginning of twentieth- century opera, in which sex, violence and the uncanny abysses of the human psyche would be explored, inspiring composers to expand the musical means of expression in all thinkable ways.