Tosca, famous actress and singer, is passionate, jealous, generous woman, capable of anything for her love. She is a "prima donna" of pure blood, who has tantrums at the slightest provocation and is, according to the occasion, impatient, capricious, in love and religious. Mosco Carner commented on the composer's predilection for inflicting torment and suffering on his heroines, and Tosca is no exception. In a letter to Adami, the composer jokingly commented on his "Neronian instinct" and confessed that he could only write "when my executioner-puppets move on stage." It is true that the scenes of suffering, death and torture, and in Tosca are many, exerted enormous fascination on the creative imagination of the musician.
Delving into the characteristics of this great female figure, Manfred Kelkel said that, unlike Cavaradossi, she maintains an apolitical attitude. And his behavior is quite ambiguous from the psychological point of view. Scarpia's masochistic passion inspires an instinctive repulsion, which in no case is an example of a certain perverse attraction. Weighing the one that the Baron exerts on her, Tosca will have no alternative but to kill him so as not to yield to his own desire. It seems an act of justice, but in reality, in his own words, it is «Tosca's kiss», the kiss of death.
The Roman actress-singer is a separate case in the Puccinian literature. Segalini estimates, what is debatable, that his is a dramatic instrument that keeps all the peculiarities of the verista song: power in the medium (to dominate, for example, the orchestral paroxysms of the second act), the courage in the acute (all the writings are well placed so that they can be issued without special problems, except for do 5 of the third).
The vocal line, halfway between the song and the "parliament", is essential because it is revealing of the most critical moments. Anna Netrebko is not a really dramatic voice, but we believe that, despite what he considered the aforementioned Segalini or, even, what Puccini thought (who thought that the creator in that Roman function of 1900, Hariclea Darclée, did not own the packaging sufficient vowel), is equipped with an instrument, of lyrical character – «spinto», which can be coupled, based on its means and intelligence without special problems to the demands of the score and the scene.
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