Name: Tosca
Start: 2016-09-11T00:00:00.000Z
End: 2017-05-13T00:00:00.000Z
Location: Primorsky Stage of the Mariinsky Theatre

Organization

Conductor

Anton Torbeev

Stage director

Hans-Joachim Frey

Set designer

Pyotr Okunev

Petrika Ionesco

Chorus master

Larisa Shveikovskaya

Anna Pipia

Lighting designer

Vladimir Sterlin

Pianist

Andrey Annenkov

Singer

Soprano

Alena Diyanova

Floria Tosca

Tenor

Maxim Aksenov

Mario Cavaradossi

Baritone

Dmitry Nelasov

Baron Scarpia

Bass

Sergei Pleshivtsev

Cesare Angelotti

Gennady Akhmedov

The sacristan

Alexei Kostyuk

Spoletta

Elena Stikhina

Ariunbaatar Ganbaatar

Ekaterina Shimanovich

Pavel Smelkov

Maria Guleghina

Evgeny Mizin

Child vocalist

Aigul Khismatullina

A shepherd

Vyacheslav Vasilyev

Sciarrone

Kristina Alieva

Aleksandr Diyanov

Yevgeny Plekhanov

Vladimir Volkov

Vadim Soloviev

A jailer

Primorsky Stage of the Mariinsky Theatre

italų

Tosca

Vladivostok

Russia

Big Hall

Public

rusų

anglų

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Countertenor

Mezzo-soprano

Bass-baritone

Alto

Continuo

Silent

Spoken

In 1889, the Italian composer Giacomo Puccini attended the premiere of La Tosca — the drama which Victorien Sardou had written specially for the famous actress Sarah Bernhardt: to emphasise whom he had envisioned as “that very Tosca”, Sardou even used the definite article in the title of the play (La Tosca). Puccini was so astounded by Bernhardt’s brilliant performance that he immediately wanted to compose an opera based on this drama. However, being a little known, emerging author, the composer did not dare approach the eminent and renowned Sardou. It was only several years later, when his success in the field of opera had established his reputation that Puccini, through his publisher, persuaded the playwright to entrust to him the plot that he liked so much.
Having been inspired by Bernhardt passionate expressivity, the composer dreamt of an equally talented performer for his opera Tosca and sought an “ultra-dramatic singer” for the part of the jealous primadonna. After a cool reception of the opera premiere in Rome, where the main part had been performed by the coldish blonde Hariclea Darclee, Puccini desperately wrote: “La Tosca appeared at a sad time! Nowadays, there are no singers anymore! The ones that sing now do not produce even 30 per cent of what the author had in mind! There are no such dramatic temperaments as there used to be! I’ve made a mistake by composing the opera which will never be performed as it should be!”
However, the composer’s dreams of the ideal Tosca were destined to come true! At the Mariinsky Theatre Puccini found “the very Tosca” in the person of the exceptionally gifted singer Media Figner who reigned on stage from the end of the 1890s. What is more, together with the ideal heroine, Puccini found the ideal hero — impersonated by Medea’s husband — Nikolay Finger, who brilliantly played the part of the singer’s lover — Mario Cavaradossi.
Attaching great importance to La Tosca production, Puccini emphasized that “it was an opera of bright colours and, if one wishes so, a flamboyant performance”. The international team which staged La Tosca on the Primorsky Stage of the Mariinsky Theatre has fully taken into consideration the composer’s wishes. In fact, apart from human roles, there is one more extremely important character — the eternal city of Rome, with its atmosphere setting mood to the whole performance. It also determines the Primorsky production of La Tosca arranged in the solemn and ceremonial Empire style with the dominating purple-red colour as the symbol of the Roman optimates as well as the colour of blood and passion.

Nadezhda Koulygina

English

Tosca by Puccini, Nuo (2016/2017), Režisierius Hans-Joachim Frey,, Dirigentas Anton Torbeev, Pavel Smelkov, Primorsky Stage of the Mariinsky Theatre, Vladivostok, Russia

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