Tosca is initially presented as effervescent, a little bit petty, perhaps even vapid and certainly prone to fits of jealousy. Scarpia is a purely sadistic demon, and his complete lack of a single redeeming quality, while serving as the opera’s source of drama, makes him a simple antagonist. Mario Cavaradossi is devoted to Tosca, but he is primarily focused on her physical appearance. The protagonist and singer, Tosca is arguably a more complex character than her male counterparts. It is worth seeing BLO’s “Tosca” if only to hear Russian soprano Elena Stikhina make her American debut as Floria Tosca. “Tosca” is a tale of political tumult and romance in Rome during Napoleon’s invasion of Italy, but it is less a love story than the musical exploration of a complex heroine. 13 at the Emerson Cutler Majestic Theatre. The audience audibly reacts, repelled by the villain’s lyrics, just one of many emotional responses elicited by the Boston Lyric Opera’s (BLO) sold-out opening night performance of Giacomo Puccini’s opera “Tosca” (1900) on Oct. “For myself the violent conquest has stronger relish than the soft surrender,” baritone Daniel Sutin croons in Italian, thirstily eyeing the striking, though currently distraught, auburn woman with whom he shares the stage. Content Warning: This article mentions sexual violence.

Tosca opera 2017