High drama, high stakes, high notes
A bold and passionate opera singer, Tosca fights to save the life of her beloved even if it means sacrificing herself—or whoever gets in her way. This grand production of power, desperation, and betrayal is brought to life by The Dallas Opera Orchestra and Chorus, featuring some of the most electrifying voices in opera today. The music is just as beautiful and the tragedy as heartbreaking as the day it premiered. Come see what makes Tosca an enthralling masterpiece that keeps opera lovers coming back.
Internationally celebrated as Cavaradossi, Joseph Calleja brings his “honey-tone tenor” (The New York Times) to a long-awaited Dallas debut. Ewa Płonka lends her “impressive stage presence” (Das Opernglas) to the lovelorn Tosca. BBC Cardiff Singer of the World Gihoon Kim makes his debut as Scarpia, radiating “velvet, tender sounds.” (The Guardian) >>See full cast
Read the Program Book! Text “TDO” to 55741 to view our digital program book.
A Co-Production of Cincinnati Opera, Detroit Opera, and l’Opera de Montreal
Original Stage Director Jose Maria Condemi
Scenery & Costumes Designed by Robert Perdziola
Lighting Designed by Thomas C. Hase
Show Details
Language
Sung in Italian with English Titles
Running Time
Approximate run time is 2 hours and 45 minutes including two intermissions.
Rating
Please Note: This performance includes mature themes, including violence and suicide.
Cast
Ewa Płonka
ToscaJoseph Calleja
CavaradossiGihoon Kim
ScarpiaDale Travis
SacristanThomas Cilluffo
SpolettaAndrew Potter
AngelottiErik Earl Larson
SciarroneSripal Medara Metla
A Shepherd BoyChristopher Harrison
A JailorCreative Team
Emmanuel Villaume
ConductorAndrew Nienaber
DirectorRobert Perdziola
Set and Costume DesignerThomas Hase
Lighting DesignerGeorge Gregory Hobbs
Guest Chorus DirectorDavid Zimmerman
Wig and Make-Up DesignerSynopsis
Tosca Opera Synopsis
ACT ONE
The Church Sant’Andrea della Valle in Rome, 1800. Noon.
Angelotti, a political prisoner, has escaped from Castel Sant’Angelo and takes cover in the church where his sister, the Marchesa d’Attavanti, has left him the key to the family chapel. He is discovered by the painter Mario Cavaradossi, a liberal sympathizer, who is painting an altarpiece. His portrait of Mary Magdalena is inspired by the Marchesa, whom he has observed in prayer. When the singer Floria Tosca, Cavaradossi’s lover, arrives, she recognizes the blue-eyed Magdalena as none other than the Marchesa herself. Tosca jealously insists that the figure be made to look more like her dark-eyed self, and leaves the church. Soon after, a cannon shot from the prison announces Angelotti’s escape and Cavaradossi hurries him away to hide in his country villa.
The Sacristan tells the choir of the reported defeat of Napoleon at Marengo, to be celebrated with a High Mass. Their jubilation is interrupted by Scarpia, the feared Chief of Police, who arrives with his men to search for Angelotti. Scarpia finds a fan with the Attavanti crest, part of a disguise left for Angelotti, as Tosca returns to tell Mario that she will sing for the Queen that night at Palazzo Farnese. Scarpia uses her jealousy to sow seeds of doubt about her lover and the Marchesa; as Iago used a handkerchief to manipulate Othello, he will trap Tosca with the Marchesa’s fan.
ACT TWO
Scarpia’s apartments at the Farnese Palace. That evening.
Scarpia desires Tosca, and hopes to use the arrest of her lover to force her to his will. As he dines in his room, he hears Tosca’s voice rising from the celebrations below. Spoletta arrives from Cavaradossi’s villa, having failed to find the escaped Angelotti. He has, however, arrested Cavaradossi and brings him before Scarpia.
Tosca, having been to the villa as well, knows that Scarpia was lying about Mario’s infidelity. She also knows the hiding place of Angelotti, which she reveals when Mario screams under torture.
Scarpia proposes a bargain to Tosca: If she will yield to him, he will spare Cavaradossi, and give them both safe conduct out of Rome. But, for political reasons, he must first hold a mock execution.
Tosca agrees, and as Scarpia prepares to collect his reward, she offers him a deadly surprise.
ACT THREE
The battlements of Castel Sant’Angelo, high above the Tiber. Near dawn.
Cavaradossi, awaiting execution, recalls his first night with Tosca — when the stars shone just as they do now. Tosca arrives with the safe conduct, and describes how she obtained it. A carriage is waiting, and she has brought money and her jewels. She explains that Mario will have to feign death at the hands of a mock firing squad, and coaches his acting.
The firing squad, however, is real; Scarpia has worked his evil from beyond the grave. Pursued by Scarpia’s minions, who have discovered her deed, Tosca calls on her tormentor to meet her before the Throne of God, and leaps to her death.
Pre- and Post-Opera Discussions
Join us for these engaging and informative pre- and post-opera discussions:
Joy and Ronald Mankoff Pre-Opera Talk: Hosted by Music Director Emmanuel Villaume, this interactive 30-minute lecture begins one hour before the start of each opera in the Margaret McDermott Performance Hall. Admission is free with your ticket to a Dallas Opera performance. Note: There is no Pre-Opera Talk on Opening Night, October 13, 2023.
Sunday Post-Opera Talkback: Immediately following the Sunday matinee performance from the stage, this brief and casual Q&A session with members of the cast gives you an opportunity to ask questions about the performance. Hosted by Ian Derrer, The Kern Wildenthal General Director and CEO at The Dallas Opera.
Sponsors
Katherine and Michael E. Phillips
Presenting Sponsor
Fanchon and Howard Hallam
Producing Sponsor
The Eleanor Ford Penrose Mainstage Production
The Caroline Rose Hunt Mainstage Production
Mary Anne Cree, in memory of Rosine Smith Sammons
Season Sponsor
Linda and Mitch Hart
Season Opening Night Performance Sponsor
Jill and Malcolm Winspear
Opening Night Celebration Chairs