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TOSCA

BALLO
Te Deum - Act I curtain

 

 

 

"Il prezzo" - Act II [Kimm Julian and Galina Gorchakova]

 

 

Kimm Julian as Scarpia Kimm Julian as Scarpia
Tosca and Scarpia, Act II  [Galina Gorchakova and Kimm Julian] Kimm Julian as Scarpia

 

"...ad ogni niego ne sprizza sangue senza mercé." "Tosca, hai parlato?"
"...simulato supplizio." "Liberi!"

 

 

 

"E lucevan le stelle
e olezzava la terra -
Stridea l'uscio dell'orto -
e un passo sfiorava la rena.

Entrava ella, fragrante,
mi cadea fra le braccia...
Oh! dolci baci, o languide carezze,
mentr'io fremente
le belle forme
disciogliea dai veli!

Svani per sempre
il sogno mio d'amore...
L'ora è fuggita e muoio disperato!
E non ho amato mai tanto la vita!"

Mario Cavaradossi
Act III


"E lucevan le stelle..."

 

 

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CAPTIONS
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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]

Vissi d'arte 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.

 

"That's good. It gives the aria some life."

- Giacomo Puccini, after Jeritza ended up on the floor

 

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]
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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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.

The stars were shining then...
and the earth was smelling sweet...
the garden gate creaked...
and a footstep grazed the sand.

Then she - fragrant with perfume - was there
and fell into my arms.
O, sweet kisses, o lingering caresses,
while I, trembling,
released her beautiful body
from her clothing.

Vanished forever
is my dream of love.
Now it flies away, and I die, in hopeless despair.
And never have I loved life so much!



 

BEHIND THE SCENES

CODA TO A CAREER
28 years after beginning his distinguished international career, François Loup brought it to a formal close in this production of Tosca.

As The Sacristan, Loup brought another of his wonderfully detailed comic performances to the stage, as he had since 1974. Performing in Europe as well as throughout the United States, he sang Bartolo in both the Mozart and the Rossini versions of Figaro, Donizetti's Dulcamara and Sulpice, and a number of other significant roles, including Don Alfonso in Così fan tutte. Loup plays the Sacristan as gleefully simple, his rubber face reminiscent of the Hollywood actor Donald O'Connor, his movements deliberately selected to punctuate a thought or phrase.

"Retirement" is a word most singers don't have much use for, and François Loup can hardly be said to have slowed down. As a faculty member at the University of Maryland School of Music, he is still a singer, actor, stage director, and coach - inspiring and guiding new generations of singers, who benefit from a lifetime spent on stage.

"Il panniere è intatto..."  Bass, François Loup
 
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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

 

 

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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

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Invitation to the Rehearsal Hall

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original content including translations © copyright 2002-2005 ML Hart and images/graphics © copyright 2002-2005 ML Hart except where noted

I am indebted to the ENO/Royal Opera Guide (#16 - Tosca, publ. 1982) and articles therein by Bernard Williams, Bernard Keeffe, and Stuart Woolf, especially relating to the Verdi connection

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