Word: cavaradossi
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...painter Cavaradossi (Jeffrey M. Hartman), Tosca’s lover, is not just painting a Madonna; he is painting a mural of an ostensibly Futurist Madonna. Thus, added to the crime of aiding an escaped political prisoner is the implicit charge of “subversive art” (despite the fact that the Futurists tried so hard to ingratiate themselves with the Fascists...
...Cavaradossi, of course, is an artist. So is Tosca: as a celebrated singer, she premieres a cantata on the same night that Scarpia arrests Cavaradossi. Subtler, though, is the way in which Cass’s Scarpia is framed as a sort of artist. Scarpia has an extensive, obsessive conception of the way he wants the world to be, and the elaborate, not entirely rational course of events he plans in order to force himself on Tosca is far more sophisticated than the artistry of either Cavaradossi or Tosca...
After initially tricking Tosca into believing that Cavaradossi has been unfaithful, Scarpia exults, “Ho accetto l’effetto!” (I’ve achieved the effect!), borrowing the language of Cavaradossi’s work to describe his plotting as a representation of some inner vision. Scarpia’s plan almost works, but, famously, it is derailed when Tosca stabs him after pretending to acquiesce to his advances. Tosca only does so, however, after forcing Scarpia to provide for Cavaradossi’s release and their escape together, planning a future where...
...inevitably, it will remain unrequited. The plot of composer Giacomo Puccini’s “Tosca” explores political intrigue and its ruinous influences on the lives of happy people. This haunting opera pits the police baron Scarpia against lovers Floria Tosca and Mario Cavaradossi, a singer and painter respectively. Set in Napoleonic Italy, the story will be brought to life by the Lowell House Opera—albeit with a twist...
Here is the effortless technique of Melba, formidable in the mad scene from a 1901 Lucia di Lammermoor. Here is the Italian tenor Emilio de Marchi, the first Cavaradossi, ringing the rafters with a triumphant Vittoria! in a 1903 Tosca. Here too is the white-hot French soprano Emma Calv, a peerless Carmen; the Polish soprano Marcella Sembrich, who negotiates the Queen of the Night's treacherous coloratura con molto brio in a 1902 Magic Flute; and the soaring American soprano Nordica (ne Norton), who must have been one of the most glorious Brnnhildes in history. And here...