“E avanti a lui tremava tutta Roma”: Floria Tosca, end of Act II (Tosca) (And before him, all Rome trembled.)

Floria and Mario are in love and determined to defend their free love affair. But the combined effects of Floria's jealousy and religious and political oppression bring all three protagonists to a tragic end. The drama, in which the music highlights the characters' psychological makeup, is underscored by the fear of God as a tool of political domination and social manipulation.

First performed in Rome in 1900 (in 1902 at the Liceu), Tosca relates how a prima donna's suspicions determine her lover's fate. The ageless heroine Tosca is a turn-of-the century femme fatale but also the embodiment of the committed modern woman. She clashes with Scarpia, the ruthless, sadistic police chief who has one fatal weakness:  the diva herself. The demoniacal opening chords become the Leitmotiv of their violent exchanges in the second act.

This new version, first seen at La Monnaie, was coproduced by the Gran Teatre del Liceu in partnership with other opera houses.  In it the Spanish stage director Rafael R. Villalobos highlights the political, moral and social pressure that weighs on the public, drawing parallels with the oppression suffered by Pier Paolo Pasolini (murdered because he was considered an enemy of the government) and the personal torment of Caravaggio, as seen by Santiago Ydáñez.

This same pressure, exerted urbi et orbi by the Vatican, converts the characters into veritable puppets.  How can they maintain their faith intact when everything around them is tainted by corruption and despotism? How will Floria Tosca react when the borderline between perverted power and religious dogma becomes blurred? She ultimately leaps into the void, not just physically, but because she needs to escape and preserve her authenticity and freedom. Tosca is beauty face to face with horror and devastation.

In a moment of doubt and insecurity, Scarpia cries out: “Tosca, mi fai dimenticare Iddio!” (Tosca, you make me forget God!). Haven't we all sometimes forgotten who we were? 

With the support of:

in three acts
Libretto by Luigi Illica and Giuseppe Giacosa
World premiere:14/1/1900 at the Teatro Costanzi in Rome 
Barcelona premiere 30/3/1902 at the Gran Teatre del Liceu
Last Liceu performance: 28/6/2019
Total number of Liceu performances: 191 

  • Approximate running time 2h 30min

Artistic profile

Stage director
Rafael R. Villalobos
Set design
Emmanuele Sinisi
Costume design
Rafael R. Villalobos
Felipe Ramos
Santiago Ydáñez
Théâtre Royal de la Monnaie, Gran Teatre del Liceu, Teatro de la Maestranza y Salas del Arenal and Opéra Orchestre National Montpellier


FLORIA TOSCAMaria Agresta4th,7th,10th,13th,16th,19th,21th January
Emily Magee8th,11th,14th,18th January
Monica Zanettin12th January
Sondra Radvanovsky17th,20th January
MARIO CAVARADOSSIMichael Fabiano4th,7th,10th,13th,16th,19th January
Joseph Calleja8th,11th,14th,17th,20th January
Antonio Corianò12th,18th,21th January
BARON SCARPIAŽeljko Lučić4th,7th,10th,13th,16th,17th,19th,20th January
George Gagnidze8th,11th,12th,14th,18th,21th January
SAGRISTÀJonathan Lemalu
SPOLETTAMoisés Marín
JAILERMilan Perišic
SHEPHERDHugo Bolívar
Chorus of the Gran Teatre del Liceu (Pablo Assante, director)
Symphony Orchestra of the Gran Teatre del Liceu
Henrik Nánási

  • Tenor Michael Fabiano joins the production as Mario Cavaradossi, replacing Roberto Alagna.
  • Soprano Maria Agresta will sing the part of Floria Tosca, replacing Aleksandra Kurzak.
  • Soprano Emily Magee joins the production singing the part of Floria Tosca the performances of January 8, 11, 14 & 18.
  • Baritone Željko Lučić joins the production singing the part of Scarpia, replacing Evgeni Nikitin.

January 2023

4Wednesday19:00Turn Bbuy
7Saturday19:00Turn Cbuy
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