马林斯基剧院, 大剧场

托斯卡

三幕歌剧

用意大利语唱
(俄语和英语字母)
贾科莫·普契尼

Performers

指挥:

安东·托尔别耶夫

Floria Tosca: Alena Diyanova
Mario Cavaradossi: Mergen Sandanov
Baron Scarpia: Dmitry Nelasov

Credits

作曲: 朱塞佩·威尔第
编剧:弗朗奇斯科·玛利亚·皮亚韦
根据小仲马小说改编

Stage Director: Hans-Joachim Frey
Set Designer: Pyotr Okunev
Production Concept: Petrika Ionesco
Chorus Mistress: Larisa Shveikovskaya and Anna Pipia
Lighting Designer: Vladimir Sterlin
Musical Preparation: Andrei Annenkov

SYNOPSIS

第一幕
故事发生在 1800 年的罗马。越狱政治犯凯塞利•安杰洛蒂躲进教堂,他的妹妹阿塔凡蒂侯爵夫人已经安排好一把钥匙,让安杰洛蒂可以暂时躲进教堂内的小礼拜堂,穿上妹妹为他准备的女服,以备逃跑,因为警察总督斯卡比亚男爵追击他。 正在为教堂作画的画家马里奥•卡伐拉多西上场,露出一幅玛丽亚•玛达莱娜的画像。画像上的玛丽亚十分像近日每天来祈祷的阿塔凡蒂侯爵夫人。

逃亡者请求画家救助。适巧托斯卡前来教堂寻找卡伐拉多西,见大门反锁,于是在门外大声呼喊,卡伐拉多西见状赶紧教安杰洛提再躲进小礼拜堂内,因为他不想让托斯卡知道太多事。托斯卡进来后,对卡伐拉多西迟迟未来开门存有疑心。托斯卡看见了画像,感到画像上的玛丽亚似乎像一个人,又起了疑心。卡伐拉多西花了好大的劲才劝住了托斯卡,托斯卡这才满意地离去。

卡伐拉多西告诉安杰洛蒂,别墅花园里有一口井,可供一人藏身。这时从恩格堡传来隆隆炮声,那是有逃犯越狱的信号。

教堂司事和教士以及唱诗班团员一拥而进,他们正为原本要入侵意大利的拿破仑法军被击退而欢喜不已。此时,警察总督斯卡比亚率领一群警察前来教堂搜索安杰洛蒂踪迹,在查问之下,他确定安杰洛蒂是在卡伐拉多西的协助之下展开逃亡。他在阿塔凡蒂家的礼拜堂发现侯爵夫人的扇子。一个罪恶的计划在他的头脑中产生。原来他早就看上了托斯卡,他要利用这把扇子一箭双雕,把画家送上绞架,把托斯卡搂人怀中。他先用这把侯爵夫人的折扇挑起托斯卡的妒火,又让手下人跟踪托斯卡,以便找到卡伐拉多西。

第二幕
斯卡比亚在焦急地等托斯卡自投罗网。他写了一张便条,点名让托斯卡到他的寓所演出。便衣警察史波雷塔带回消息说,虽然还没有发现安杰洛蒂的踪迹,但他的手下已逮捕了卡伐拉多西。卡伐拉多西拒不承认帮助过安杰洛蒂。画家悄悄对托斯卡说千万不能把安杰洛蒂说出来。但当她听到情人受刑时发出的阵阵惨叫时,托斯卡终于招出了逃犯的藏匿处。

斯卡比亚告知托斯卡:现在只有一个办法还能救回卡伐拉多西的性命,那就是委身斯卡比亚。斯卡比亚的方法是让卡伐拉多西在处决时假装死去。托斯卡决定满足斯卡比亚的要求。斯卡比亚便交给托斯卡两张通行证,放他们远走高飞。托斯卡答应了,拿到通行证后,她趁斯卡比亚不备,将尖刀刺入男爵的心脏。

第三幕
卡伐拉多西在行刑队的带领下即将步入刑场。他请求刽子手将一封信交给心爱的托斯卡。

这时,托斯卡赶到刑场,她告诉卡伐拉多西,已经和斯卡比亚达成交易,她让卡伐拉多西枪响之后到下装死,然后两个人就可以远走高飞了。卡伐拉多西闻言大受感动。士兵们带走卡伐拉多西,到城堡上去执行枪决。行刑队在天台上执行了对卡瓦拉多西的枪决,数声枪响过后,卡瓦拉多西倒在地上。行刑的人离去后,托斯卡急忙跑到爱人身边,才发现他已经气绝多时。

此时警察发现斯卡比亚遭人刺杀,率人前来捉拿托斯卡,托斯卡在无路可去之下,纵身跳墙自尽,追随情人而去!

ABOUT THE PRODUCTION

In 1889, the Italian composer Giacomo Puccini attended the premiere of La Tosca — the drama which Victorien Sardou had written specially for the famous actress Sarah Bernhardt: to emphasise whom he had envisioned as “that very Tosca”, Sardou even used the definite article in the title of the play (La Tosca). Puccini was so astounded by Bernhardt’s brilliant performance that he immediately wanted to compose an opera based on this drama. However, being a little known, emerging author, the composer did not dare approach the eminent and renowned Sardou. It was only several years later, when his success in the field of opera had established his reputation that Puccini, through his publisher, persuaded the playwright to entrust to him the plot that he liked so much.
Having been inspired by Bernhardt passionate expressivity, the composer dreamt of an equally talented performer for his opera Tosca and sought an “ultra-dramatic singer” for the part of the jealous primadonna. After a cool reception of the opera premiere in Rome, where the main part had been performed by the coldish blonde Hariclea Darclee, Puccini desperately wrote: “La Tosca appeared at a sad time! Nowadays, there are no singers anymore! The ones that sing now do not produce even 30 per cent of what the author had in mind! There are no such dramatic temperaments as there used to be! I’ve made a mistake by composing the opera which will never be performed as it should be!”
However, the composer’s dreams of the ideal Tosca were destined to come true! At the Mariinsky Theatre Puccini found “the very Tosca” in the person of the exceptionally gifted singer Media Figner who reigned on stage from the end of the 1890s. What is more, together with the ideal heroine, Puccini found the ideal hero — impersonated by Medea’s husband — Nikolay Finger, who brilliantly played the part of the singer’s lover — Mario Cavaradossi.
Attaching great importance to La Tosca production, Puccini emphasized that “it was an opera of bright colours and, if one wishes so, a flamboyant performance”. The international team which staged La Tosca on the Primorsky Stage of the Mariinsky Theatre has fully taken into consideration the composer’s wishes. In fact, apart from human roles, there is one more extremely important character — the eternal city of Rome, with its atmosphere setting mood to the whole performance. It also determines the Primorsky production of La Tosca arranged in the solemn and ceremonial Empire style with the dominating purple-red colour as the symbol of the Roman optimates as well as the colour of blood and passion.

Nadezhda Koulygina


World premiere: 14 January 1900, Teatro Costanzi, Rome
Premiere in Vladivostok: 4 April 2015

Running time: 3 hours
The performance has two intervals

Age category 12+

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The Mariinsky Theatre
Primorsky Stage Information Service
+7 423 240 60 60
tickets-prim@mariinsky.ru
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