Joseph Calleja



Floria and Mario are two lovers who defend their love in freedom, but her jealousy will find a tragic end for the protagonist trio as a result of the suffocation of religion and the political apparatus. The fear of God as a tool of political domination and social manipulation in a drama where the music emphasizes the psychology of the characters.

Religious sincerity and voluptuousness are the two faces of the same character: Tosca, presented here by Aleksandra Kurzak, Sondra Radvanovsky and Angel Blue. Roberto Alagna and Joseph Calleja (as Mario Cavaradossi), and Evgeny Nikitin, Luca Salsi and George Gagnidze (as Scarpia) complete this unparalleled trio of aces in this hate and passion thriller in Napoleon-occupied Rome (June of 1800), where the protagonists lose their lives.

Released in Rome in 1900 (and in 1902 at the Liceu) , Tosca portrays the weight of a prima donna 's suspicions about her lover's fate. An immortal heroine who is femme fatale de fin de de siècle , but also a stereotype of the committed modern woman, confronts Scarpia, who, as a police chief, is punitive and sadistic, but with an obsessive weakness: the diva. The demonic chords that open the opera will be the leitmotif of the violent exchanges of the second act.

In this new production premiered at La Monnaie and co-produced by the Gran Teatre del Liceu, among others, the Spanish director Rafael R. Villalobos highlights the political, moral and social pressure on the public by combining it with the universe. Pier Paolo Pasolini (murdered because he was considered an enemy of the government) and Caravaggio's personal torments revisited by Santiago Ydáñez.

This pressure, which the Vatican exerts urbi et orbi , makes Tosca 's characters real puppets. How will they be able to keep their beliefs intact when everything around them is tainted with corruption and despotism? How will Floria Tosca react when the line between perverted power and religious dogma becomes too porous? Your leap into the void will not only be physical, but a way out to stay authentic and free. Horror and devastation confronted with beauty.

In a moment of doubt and fragility, Scarpia shouts: "Tosca, make me forget God!". Who hasn't forgotten who he is at some point?