Teatro del Maggio Musicale Fiorentino tickets 8 June 2024 - Tosca | GoComGo.com

Tosca

Teatro del Maggio Musicale Fiorentino, Florence, Italy
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8 PM
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US$ 100

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Florence, Italy
Starts at: 20:00
Intervals: 1
Duration: 2h

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Conductor: Daniele Gatti
Baritone: Alexey Markov (Baron Scarpia)
Choir: Children choir of the Maggio Musicale Fiorentino Academy
Chorus: Chorus of the Maggio Musicale Fiorentino
Tenor: Francesco Meli (Mario Cavaradossi)
Orchestra: Orchestra of the Maggio Musicale Fiorentino
Soprano: Vanessa Goikoetxea (Floria Tosca)
Creators
Composer: Giacomo Puccini
Librettist: Giuseppe Giacosa
Librettist: Luigi Illica
Director: Massimo Popolizio
Dramaturge: Victorien Sardou
Overview

New staging

On January 14, 1900 at the Teatro Costanzi in Rome, Tosca made its debut, an opera in three acts by Giacomo Puccini to a libretto by Luigi Illica and Giuseppe Giacosa. The source is Victorien Sardou's historical drama La Tosca, written in 1887 specifically for actress Sarah Bernhardt. Puccini was inflamed for that subject after attending a theatrical performance and did everything he could to turn it into an opera. However, the Ricordi publisher initially entrusted the project to another composer, Alberto Franchetti, only to then put it back in the hands of Puccini in 1895. To make Tosca's libretto, the Illica-Giacosa tandem, already successfully tested in La bohème, was reconfirmed. But the work proceeds slowly and with numerous complaints from the librettists. Both consider Sardou's drama unsuitable for operatic transposition due to too many events that prevail over poetry. Puccini, on the other hand, for his part does not care and following only his musical intuition in 1899 he signs what will soon become another of his great masterpieces. Tosca is therefore a work of action where the tension never relaxes and in which the musical discourse must necessarily proceed without stopping, with rare exceptions. This leads the composer from Lucca to adopt a narrative technique based on a dense network of short and recurring motifs - often combined with each other - to comment on the frenetic unfolding of the story. The action is set in papal Rome at the time of the battle of Marengo. The protagonists Floria Tosca, passionate and strong-willed prima donna squared, and her lover Mario Cavaradossi, a painter with liberal and convinced anticlerical sympathies, are hindered by Baron Scarpia, chief of the Bourbon police at the service of the papacy. Animated by murky passions and innate evil, the baron, like a sadistic puppeteer, determines the course of events from start to finish. Fierce persecutor of Mario first, and of Tosca then, (until he is murdered by the woman after an attempted violence) Scarpia continues to hover like a ghost in the orchestra even when dead with the repetition of his threatening theme built on the tritone, the sinister interval that has been associated with Evil in music for centuries. But the dramatic atmosphere of the story, which includes three violent deaths on stage (a stabbing, a shooting and a suicide), is further accentuated by Puccini also through an orchestral writing full of dissonances and tensions, which anticipate the expressionist aesthetics, and a voice often exasperated and pushed to the limit.

History
Premiere of this production: 14 January 1900, Teatro Costanzi, Rome

Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder and suicide, as well as some of Puccini's best-known lyrical arias.

Synopsis

Act 1

Inside the church of Sant'Andrea della Valle

Scene depicting a church interior with high stained-glass windows and heavy ornamental columns. The central figure is a high dignatory around whom several figures are kneeling, while in the background can be seen the tall pikes of the Swiss Guard.
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.

The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.

Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.

Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").

After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden. The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.

The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.

When Tosca arrives looking for her lover, Scarpia artfully arouses her jealous instincts by implying a relationship between the painter and the Marchesa Attavanti. He draws Tosca's attention to the fan and suggests that someone must have surprised the lovers in the chapel. Tosca falls for his deceit; enraged, she rushes off to confront Cavaradossi. Scarpia orders Spoletta and his agents to follow her, assuming she will lead them to Cavaradossi and Angelotti. He privately gloats as he reveals his intentions to possess Tosca and execute Cavaradossi. A procession enters the church singing the Te Deum; exclaiming 'Tosca, you make me forget even God!', Scarpia joins the chorus in the prayer.

Act 2

The body of a man lies supine, with a woman, crucifix in hand, kneeling over him. A candle is placed to each side of his head.
Scarpia's apartment in the Palazzo Farnese, that evening

Scarpia, at supper, sends a note to Tosca asking her to come to his apartment, anticipating that two of his goals will soon be fulfilled at once. His agent, Spoletta, arrives to report that Angelotti remains at large, but Cavaradossi has been arrested for questioning. He is brought in, and an interrogation ensues. As the painter steadfastly denies knowing anything about Angelotti's escape, Tosca's voice is heard singing a celebratory cantata elsewhere in the Palace.

She enters the apartment in time to see Cavaradossi being escorted to an antechamber. All he has time to say is that she mustn't tell them anything. Scarpia then claims she can save her lover from indescribable pain if she reveals Angelotti's hiding place. She resists, but the sound of screams coming through the door eventually breaks her down, and she tells Scarpia to search the well in the garden of Cavaradossi's villa.

Scarpia orders his torturers to cease, and the bloodied painter is dragged back in. He's devastated to discover that Tosca has betrayed his friend. Sciarrone, another agent, then enters with news: there was an upset on the battlefield at Marengo, and the French are marching on Rome. Cavaradossi, unable to contain himself, gloats to Scarpia that his rule of terror will soon be at an end. This is enough for the police to consider him guilty, and they haul him away to be shot.

Scarpia, now alone with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be freed. She is revolted, and repeatedly rejects his advances, but she hears the drums outside announcing an execution. As Scarpia awaits her decision, she prays, asking why God has abandoned her in her hour of need: "Vissi d'arte" ("I lived for art"). She tries to offer money, but Scarpia isn't interested in that kind of bribe: he wants Tosca herself.

Spoletta returns with the news that Angelotti has killed himself upon discovery, and that everything is in place for Cavaradossi's execution. Scarpia hesitates to give the order, looking to Tosca, and despairingly she agrees to submit to him. He tells Spoletta to arrange a mock execution, both men repeating that it will be "as we did with Count Palmieri," and Spoletta exits.

Tosca insists that Scarpia must provide safe-conduct out of Rome for herself and Cavaradossi. He easily agrees to this and heads to his desk. While he's drafting the document, she quietly takes a knife from the supper table. Scarpia triumphantly strides toward Tosca. When he begins to embrace her, she stabs him, crying "this is Tosca's kiss!" Once she's certain he's dead, she ruefully says "now I forgive him." She removes the safe-conduct from his pocket, lights candles in a gesture of piety, and places a crucifix on the body before leaving.

Act 3

The upper parts of the Castel Sant'Angelo, early the following morning

Roman panorama showing, centre, an arched bridge over a river with a domed building in the distance. To the right of the bridge is a large circular fortress.
A shepherd boy is heard offstage singing (in Romanesco dialect) "Io de' sospiri" ("I give you sighs") as church bells sound for matins. The guards lead Cavaradossi in and inform him that he has one hour to live. He declines to see a priest, but asks permission to write a letter to Tosca. He begins to write, but is soon overwhelmed by memories: "E lucevan le stelle" ("And the stars shone").

Tosca enters and shows him the safe-conduct pass she's obtained, adding that she has killed Scarpia and that the imminent execution is a sham. Cavaradossi must feign death, after which they can flee together before Scarpia's body is discovered. Cavaradossi is awestruck by his gentle lover's courage: "O dolci mani" ("Oh sweet hands"). The pair ecstatically imagines the life they will share, far from Rome. Tosca then anxiously coaches Cavaradossi on how to play dead when the firing squad shoots at him with blanks. He giddily promises he'll fall "like Tosca in the theatre."

Cavaradossi is led away, and Tosca watches with increasing impatience as the execution is prepared. The men fire, Cavaradossi falls, and Tosca exclaims "Ecco un artista!" ("What an actor!"). When the soldiers have all left, she hurries towards Cavaradossi, only to find that Scarpia betrayed her: the bullets were real. Heartbroken, she clasps her lover's lifeless body and weeps.

The voices of Spoletta, Sciarrone, and the soldiers are heard, shouting that Scarpia is dead and Tosca has killed him. As the men rush in, Tosca rises, evades their clutches, and runs to the parapet. Crying "O Scarpia, Avanti a Dio!" ("O Scarpia, we meet before God!"), she flings herself over the edge to her death.

Venue Info

Teatro del Maggio Musicale Fiorentino - Florence
Location   Piazza Vittorio Gui, 1

Teatro del Maggio Musicale Fiorentino is a major opera house in Florence and the main concert venue of the international festival "Maggio Musicale Fiorentino". The Teatro del Maggio is the permanent home of the Orchestra and Choir of the Maggio Musicale Fiorentino as well as the main venue of the prestigious Festival, the oldest in Italy and one of the most important in Europe together with Salzburg and Bayreuth and which gives - precisely - the name of the great architectural complex. The Teatro del Maggio collects in itself and continues, the glorious history of the Municipal Theater.

It was originally built as the open-air amphitheater, the Politeama Fiorentino Vittorio Emanuele, which was inaugurated on 17 May 1862 with a production of Donizetti's Lucia di Lammermoor and seated 6,000 people. It became the focus of cultural life in the city. After closure caused by fire, it reopened in April 1864 and acquired a roof in 1882. By 1911 it had both electricity and heating.

In 1930 the building was taken over by the city authorities who renamed it the Teatro Comunale. Bombing during the Second World War damaged the building once again, and other problems closed it for three years in 1958. Finally, in May 1961, the then-modernized theatre reopened with Verdi's Don Carlo. It had become a 2,000-seat elliptically shaped auditorium consisting of a large orchestra section, one tier of boxes, and two wide semicircular galleries, which betray the building's amphitheater origins.

As the theatre became more closely associated with Italy's first and most important music festival, the annual Maggio Musicale Fiorentino which had begun in 1931 as a triennial festival and, except for the war years, became an annual one after 1937, its name was changed once again for the festivals to the Teatro del Maggio Musicale Fiorentino.

Important Info
Type: Opera
City: Florence, Italy
Starts at: 20:00
Intervals: 1
Duration: 2h
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