Organization

Stage director

Mario Pontiggia

Set designer

Francesco Zito

Costume designer

Lighting designer

Bruno Ciulli

Chorus master

Luka Vukšić

Singer

Soprano

Kristina Kolar

Floria Tosca

Martina Serafin

Tenor

Tomislav Mužek

Mario Cavaradossi

Stjepan Franetović

Baritone

Davor Radić

Baron Scarpia

Dalibor Hanzalek

Giorgio Surian

Bass

Siniša Štork

Cesare Angelotti

Toni Nežić

Marin Čargo

The sacristan

Ivan Šimatović

Nikša Radovanović

Spoletta

Filip Filipović

Matic Zakonjšek

Sciarrone

Jurica Jurasić Kapun

Child vocalist

Lucija Jelušić

A shepherd

Stefani Pijetlović

Boris Beus

A jailer

Lobel Barun

Conductor

Andreas Gies

Alla Kulbaba

Translator

Marina Glavaš

HNK Zagreb

Orchestra

Orkestar Opere Hrvatskoga Narodnog Kazalista u Zagrebu

Others

Choir HNK Zagreb

Tosca

Zagreb

Croatia

Tosca Puccini

Public

Approved

Tosca is a particularly dear opera to Argentine director Maria Pontigga. With her, he made his debut at the Teatro Regio in a production that, during ten years of performance, has experienced great success in various theaters throughout Italy, France and Spain.

 What weight does history have with a large P; Napoleon, the Battle of Marengo and so on, in the story of Floria Tosca and Maria Cavaradossi?

Although I have been a passionate lover of history and biography since I was a child, that doesn't mean that I won't use a link to another era in certain operas if I find it in a shop. But in the case of Tosca, many places allude to June 17, 1800, when news of the Battle of Marengo arrived in Rome three days earlier, so the only logical way to change the era would be to change the text to historical facts. so as not to contradict the numerous historical events mentioned in the libretto: Angelotti as Consul of the Roman Republic, Castelo Sant'Angelo as a state prison, Bonaparte, the Battle of Marengo, Marshal von Melas, Queen Carolina, etc. Moving the action to another state the dictatorships of the 20th century, whether Italian, Spanish, Russian or Polish - this has already been shown. But for me, a fanatic of the stage word, the text of the opera itself refutes such an approach. History in Tosca is nothing but a credible frame of a black comedy. This production of ours was created in Florence in 2008, and it was shaped by the explicit desire of the Theater to design the classic Tosca, and we stuck to that. Set designer Francesco Zito has designed realistic locations where the story is told, and we treat historical references in the same way.

 What will we see on stage?

We all concluded that we would concentrate on the real elements that were affected by the dramatic space. In the first act, the view of the enormous dome of Sant'Andree della Vale represents an institutional burden that threatens and suffocates the individual, in a space that is as diligently hosting love outbursts between the diva and the painter as the protocol Te Deum. In the second act, the elegant chamber of the Farnese Palace becomes a space for the psychological torture of lovers, while in the room next to it a real physical torture takes place. In the third act, the space is somewhat more neutral, with a huge lattice that separates the prison from the emptiness like a guillotine, thus severing the bond of lovers who set out in search of freedom. As for the costumes, they are in keeping with the context of the 19th century; in Scarpija's Rome, our production is dominated by black and church colors.

English

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