Tosca - Schedule, Program & Tickets
Tosca
Musical direction
Giacomo Sagripanti
Staging
Margarethe Wallmann
Stage and costumes
Nicola Benois
Floria Tosca
Camilla Nylund
Mario Cavaradossi
Stefano La Colla
Baron Scarpia
Erwin Schrott
The attractiveness of Margarethe Wallmann's »Tosca« production has remained unbroken since 1958. The production receives an additional symbolic attraction through the impressive number of well-known artistic personalities, who appeared before the Viennese audience in exactly this direction, in exactly these decorations and in exactly these costumes in memorable performances. The gallery of outstanding performers will now be continued in all three performance series of this season.
Plot
ACT I (Rome, around 1800).
A regime of terror oppresses all Republicans who pin their hopes on Napoleon. One of their leaders, the consul of the former Roman Republic, Angelotti, narrowly escaped from Castel Sant'Angelo where he was being held captive. He takes refuge in the church of Sant'Andrea della Volle. He is hiding in the burial chapel of the Attavanti, whose keys have been deposited for him at the agreed place. The painter Mario Cavaradossi wants to continue working on his painting of Maria Magdalena. A beautiful praying woman served him as a model without her knowing it: the Marchesa Attavanti, Angelotti's sister. Angelotti makes himself felt. He knows that he can trust Cavaradossi and is not mistaken. Cavaradossi first provides him with food and then lets him return to his hiding place, since his girlfriend, the singer Floria Tosca, enters the church. She notices his nervousness and when she discovers that the image of the Magdalene represents the Attavanti, her jealousy erupts unchecked. Cavaradossi's love succeeds in convincing her of his innocence and the groundlessness of her fears. No sooner has Tosca gone than Cavaradossi tries to help his friend. He names him a safe hiding place, an empty well on his property. A cannon shot from the fort indicates that Angelotti's escape has been discovered. It's high time to leave the church. A solemn service is to take place. While the sacristan is trying to gain respect from the chapel boys, Scarpia, Rome's chief of police, enters the church. His first path after discovering Angelotti's flight leads him here, to the burial chapel of the Attavanti. And his instincts did not deceive him: in the chapel there is a basket formerly filled with food and the fan of the Attavanti. This does not only serve as a clue: with this object he knows how to provoke Tosca's jealousy. Doubts about the faithfulness of the lover overcome her again. Scarpia triumphs: his passion for Tosca will reach its goal, because her love for Mario blinds her to all dangers. As the solemn procession enters the church, Scarpia is already sure of his success.'
Subject to change.
Giacomo Sagripanti
Staging
Margarethe Wallmann
Stage and costumes
Nicola Benois
Floria Tosca
Camilla Nylund
Mario Cavaradossi
Stefano La Colla
Baron Scarpia
Erwin Schrott
The attractiveness of Margarethe Wallmann's »Tosca« production has remained unbroken since 1958. The production receives an additional symbolic attraction through the impressive number of well-known artistic personalities, who appeared before the Viennese audience in exactly this direction, in exactly these decorations and in exactly these costumes in memorable performances. The gallery of outstanding performers will now be continued in all three performance series of this season.
Plot
ACT I (Rome, around 1800).
A regime of terror oppresses all Republicans who pin their hopes on Napoleon. One of their leaders, the consul of the former Roman Republic, Angelotti, narrowly escaped from Castel Sant'Angelo where he was being held captive. He takes refuge in the church of Sant'Andrea della Volle. He is hiding in the burial chapel of the Attavanti, whose keys have been deposited for him at the agreed place. The painter Mario Cavaradossi wants to continue working on his painting of Maria Magdalena. A beautiful praying woman served him as a model without her knowing it: the Marchesa Attavanti, Angelotti's sister. Angelotti makes himself felt. He knows that he can trust Cavaradossi and is not mistaken. Cavaradossi first provides him with food and then lets him return to his hiding place, since his girlfriend, the singer Floria Tosca, enters the church. She notices his nervousness and when she discovers that the image of the Magdalene represents the Attavanti, her jealousy erupts unchecked. Cavaradossi's love succeeds in convincing her of his innocence and the groundlessness of her fears. No sooner has Tosca gone than Cavaradossi tries to help his friend. He names him a safe hiding place, an empty well on his property. A cannon shot from the fort indicates that Angelotti's escape has been discovered. It's high time to leave the church. A solemn service is to take place. While the sacristan is trying to gain respect from the chapel boys, Scarpia, Rome's chief of police, enters the church. His first path after discovering Angelotti's flight leads him here, to the burial chapel of the Attavanti. And his instincts did not deceive him: in the chapel there is a basket formerly filled with food and the fan of the Attavanti. This does not only serve as a clue: with this object he knows how to provoke Tosca's jealousy. Doubts about the faithfulness of the lover overcome her again. Scarpia triumphs: his passion for Tosca will reach its goal, because her love for Mario blinds her to all dangers. As the solemn procession enters the church, Scarpia is already sure of his success.'
Subject to change.
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