Tosca

Opera in three actsLibretto: Luigi Illica, Giuseppe Giacosa based on a play by Victoriena SardoupraPremiere: 14.01.1900, RomePremiere of this production: 23.02.2019, TW-ONOriginal Italian language version with Polish and English subtitles

We would like to inform you that from some places of balcony III the visibility of the light board may be limited.

Tosca is a work that talks about love, art, but also about the relationship of power: political power and that which the person we desire has over us. From this point of view, interestingis the villain of this opera - Scarpia. Although the executive power lies in his hands, the heart of the villain belongs to Tosca, who does not want him because she loves Cavaradossi. The staging of Barbara Vysocka refers to the turbulent years of the seventies of the twentieth century in Italy, the time of the leftist response to the actions of the neo-fascists. However, it also takes power in a personal and aesthetic dimension under the microscope. The scenography by Barbara Hanicka becomes an important protagonist of the play — here the impressive Roman architecture is not only a monument, but also a way of communicating in space, what power is, in what relationship it has with people. In the context of this power, Toska's words sound all the more poignant after Scarpia's fatal blow: “Davanti di lui tremava tutta Roma!” (“The whole of Rome trembled before him!”)

Puccini sought the possibility of composing an opera for a libretto based on a text by Victorien Sardou since 1889. It was then that he saw Tosca for the first time on the stage of the theater with Sarah Bernhardt in the lead role. He was not yet a recognized composer at the time, which greatly minimized his chance of receiving a commission to write an opera. The competition was high, as even Verdi himself was interested in this art. The prominent Italian editor and musician Giulio Ricordi saw Alberto Franchetti as the author of the opera. However, the young composer did not come to an agreement with the librettist Luigi Illika, and as a result, the composition of Tosca fell to Puccini.

Although the titular Tosca is not the type of femme fatale, her driven impulse of action leads to the drama of the man she has feelings for. Caught in a tragic conflict, the more she tries to avoid defeat, the closer she gets to it. She faces a situation that forces her to make choices, none of which will save her from disaster. Driven by the sincerest love, she unconsciously brings doom upon herself and her chosen one, and regardless of the strength of character, the courage that accompanies the decisions taken and the nobility of intentions, she becomes both the culprit and the victim.

The whole drama is fueled by Puccini's extraordinary music, full of extremes, musically portraying the whole scale of events on stage, through the transition from piano to forte, juxtaposition of belcant with scream, whisper with dramatic solo parts, love with death. This contrast proves the composer's ability to express himself not only in the language of brutality, but also of delicacy. The opera also features two beautiful arias performed by the main characters — Floria Toski's Vissi d'arte and Mario Cavaradossi's E lucevan le stelle.

The atmosphere accompanying the premiere of Puccini's work was tense due to the events of that time in Europe, as well as in Rome itself. The singers taking part in it received letters with threats, and there were rumors about a bomb planted in the theater. There was chaos and panic in the audience. The show was interrupted and started all over again. Despite these difficulties, Tosca proved to be a success. The audience demanded bises. Today — alongside Carmen, the Magic Flute, Bohemian, Onegin and Traviata — it is one of the most staged operas in the world.

Choir and Orchestra of the Great Theatre - National OperasWładysław Skoraczewski Children's Choir “Artos”