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| top Act I finale: The interior of the Church of Sant' Andrea della Valle, with the procession for the Te Deum that closes the act. The locations in Rome for all three acts actually existed (and still do). Despite the somewhat melodramatic elements of the plot and characterizations - they are real people, not kings or mythical beings - this is one of the most important verismo operas of the late 19th century. |
| second row Act II: Scarpia and Tosca negotiate the price for her lover's life. [baritone Kimm Julian and soprano Galina Gorchakova] |
| Scarpia block Baron Scarpia, Chief of Police, is one of the most evil characters in all of opera. He is manipulative, corrupt, deceitful, lustful, and all-powerful, and those are his good qualities. The music that describes him is tremendous, frightening in its impact and yet extremely sensuous, which creates its own undercurrents of complexity. [baritone Kimm Julian as Scarpia] |
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Tosca has three of
the best known arias in the operatic world
in the story, one each for the three principal characters. Vissi d'arte ("I
lived for art...") is the soprano's tour de force. The aria requires dramatic passion
(without going over the top into cariacture) and heartbreaking tenderness (without going
too far the other way into pathos). Favorite interpretations on video and vinyl are by
Raina Kabaivanska and Montserrat Caballé. The tradition of singing the aria in a position other than standing was established early - legend has it, by mistake when the original Tosca, Maria Jeritza, rolled off the couch and finished the aria lying on the floor - and it continues to the present time. Variations have the soprano kneeling, lying down, or even eventually standing up, but something of the sort is expected. |
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| first row in block - left Act II: Mario is physically tortured offstage, while Scarpia tortures Tosca's mind. [soprano Galina Gorchakova and baritone Kimm Julian] |
first row in block - right Act II: Mario is reunited with Tosca, only to discover, moments later, that she has betrayed his secret. [tenor Richard Leech with soprano Galina Gorchakova] |
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| second row in
block - left Act III: Tosca delivers the news that Scarpia has given them a safe-conduct pass out of Rome; first, though, there will be a mock execution... but Mario knows, as soon as he hears her say it, that the execution will be all too real. [tenor Richard Leech and soprano Galina Gorchakova] |
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| bottom In the final hour of his life, Mario begins a letter to his beloved Tosca, only to falter, sensuously recalling their joy and desire (sensuously, as in all the senses)... then he is overwhelmed by despair and the hopelessness of death. The first text version of this aria was a noble reflection on art and life (perhaps paralleling Tosca's "Vissi d'arte") - when the composer Guiseppe Verdi read the libretto, he was moved to tears by the poetry. Puccini, however, felt that a man about to die would think more with his heart than his head, and insisted that the text be changed. The resulting aria "È lucevan le stelle" is one of the most famous - and emotionally wrenching - in the tenor repertoire.
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| CODA TO A CAREER | |||||
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| TOP OF PAGE | |||||
| San Diego Opera presents | ||
| TOSCA by Giacomo Puccini | ||
| April 2002 | ||
| Conductor | Edoardo Müller | |
| Director | Ian Campbell | |
| Set Design | Jean-Pierre Ponnelle | |
| Costume Design | ||
| xx | ||
| Tosca | Galina Gorchakova | |
| Mario Cavaradossi | Richard Leech | |
| Scarpia | Kimm Julian | |
| Sacristan | François Loup | |
| Sciarrone/Angelotti | Jamie Offenbach | |
| Spoleta | Joseph Hu | |
| EXPLORE MORE | |
EXPLORE |
article about Tosca Act III on the Grand-Tenori website by Joseph Fragola, PhD |
| Opera Basics - An Introduction The Opera Project - What's It All About? Explore More: Top 10 Ways to Fall in Love With Opera Singers &
Singing WORDS
& MUSIC SHOP |
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![]() Explore more about opera and art in ML Hart's award-winning The Art of Making Opera "...a distinguished book with heart." |
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