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Opera In English Logo
CHAN 3000
(multiple CD Set)
Opera - Tosca

Puccini: Tosca

The Classical Shop
release date: February 2000

Originally recorded in 1999

Artists:

Philharmonia Orchestra


David Parry


Charbel Michael

alto - A Shepherd Boy

Gregory Yurisich

baritone - Baron Scarpia

Peter Rose

bass - Cesare Angelotti

Ashley Holland

bass - Jailor

Christopher Booth-Jones

bass - Sciarrone

Andrew Shore

bass-baritone - Sacristan

Jane Eaglen

soprano - Floria Tosca

Dennis O'Neill

tenor - Mario Cavaradossi

John Daszak

tenor - Spoletta

Peter Kay Children's Choir


Geoffrey Mitchell Choir



Venue:

Blackheath Halls, London



Producer:

Brian Couzens



Engineer:

Ralph Couzens


Richard Smoker

(Assistant)

Record Label
Opera In English

Genre:

Vocal & Song


Opera in English

Total Time - 114:36
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Opera - Tosca

   
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GIACOMO PUCCINI

 

Tosca

117:44  
  An opera in three acts  
  Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou  
  English version by Edmund Tracey  
   
  Act I  
1 Opening - 'Ah! Here in safety!' 2:08
  Angelotti  
2 'I don't believe it . . .' 3:31
  Sacristan, Cavaradossi  
3 'Give me my palette!' 5:45
  Cavaradossi, Sacristan, Angelotti, Tosca  
4 'Mario! Mario! Mario!' 3:01
  Tosca, Cavaradossi  
5 'Our little house in the country' 4:27
  Tosca, Cavaradossi  
6 'What eyes in all the world' 9:34
  Cavaradossi, Tosca, Angelotti, Sacristan  
7 'All the choir in here at once!' 1:16
  Sacristan, Choir  
8 'You make the church a fairground!' 1:28
  Scarpia, Sacristan, Spoletta  
9 'Mario?! Mario?!' 7:12
  Tosca, Sacristan, Scarpia  
10 'Three agents, go in a carriage . . .' 4:48
  Scarpia, Spoletta, Choir  
   
  Act II  
11 'Tosca, my falcon' 3:27
  Scarpia, Sciarrone  
12 'Richer far is the flavour' 2:25
  Scarpia, Sciarrone, Spoletta  
13 'It seemed wise to arrest him . . .' 4:22
  Spoletta, Scarpia, Choir, Cavaradossi, Tosca  
14 'Now you and I can talk' 5:15
  Scarpia, Tosca, Sciarrone, Cavaradossi  
15 'Enough. Tosca, your answer' 3:49
  Scarpia, Tosca, Cavaradossi, Spolettaa, Sciarrone  
16 'Floria!' 4:28
  Cavaradossi, Tosca, Scarpia, Sciarrone  
17 'How much?' 4:41
  Tosca, Scarpia  
18 'Life has taught me singing and loving' 7:15
  Tosca, Scarpia, Spoleta  
19 'Which route have you chosen?' 6:55
  Scarpia, Tosca  
   
  Act III  
20 'No words can cheer me' 10:12
   
  A Shepherd Boy, Jailor, Cavaradossi  
21 'All the stars shone in heaven' 5:58
  Cavaradossi, Tosca  
22 'Oh, hands of mercy' 8:35
  Cavaradossi, Tosca, Jailor  
23 'What a time they are taking!' 4:04
  Tosca, Spoletta, Sciarrone, Soldiers  
   
 Jane Eaglen soprano - Floria Tosca
 Dennis O'Neill tenor - Mario Cavaradossi
 Gregory Yurisich baritone - Baron Scarpia
 Peter Rose bass - Cesare Angelotti
 Andrew Shore bass-baritone - Sacristan
 John Daszak tenor - Spoletta
 Christopher Booth-Jones bass - Sciarrone
 Ashley Holland bass - Jailor
 Charbel Michael alto - A Shepherd Boy
 David Parry
  25-27 & 29-30 August 1995  
The remarkable voice of Jane Eaglen in the title role of this popular opera makes for an electrifying performance.

As with all discs in the Opera in English Series, this set is available at mid-price

This release continues the ground-breaking series of recorded Opera in English, made in association with the Peter Moores Foundation. The collection, now forming the world’s most comprehensive series of Opera in English recordings ever undertake by a record company, is a major addition to the record catalogue.


Puccini’s interest in Tosca began in 1889 when he saw Victorien Sardou’s vintage 1887 melodrama and realised its potential as an opera. It was not until 1898 that he began composing the opera, which received its premiere in Rome in January 1900. It has proved to be one of the hardest of Puccini’s works and one that every dramatic soprano wants to perform.

Three arias, two for the tenor and one for the soprano, are the most familiar parts of the score and are among the most recorded pieces of music in the world. They share certain qualities: Puccini’s lush lyricisms and expansive expressiveness. They are relatively short, none of them lasting more than three minutes as they are designed not to interrupt the momentum. Besides these solos, the soprano and the tenor participate in two effective love duets: one in the first act, the other in the last. The character of the sadistic Baron Scarpia, baritone, has his solo moments as well, but owing to his evil nature these are rarely encountered outside the context of the opera.

In a plot filled with intense and clearly motivated action there is scant time for lyric expansiveness. One of Puccini’s most treasurable gifts as a composer of opera is his ‘theatrical clock’: he understood the optimum duration from every kind of episode. Unlike Sardou’s melodrama, which one would not expect to encounter on the spoken stage, Puccini’s opera – which converts Sardou’s characters into memorably expressive ones, fully human in their strengths and weaknesses – is a fixture in the operatic repertory.


…this issue should convince doubters of the merits of such a series.
Opera Now

This is an issue to delight… I look forward to more in the series
Gramophone

…one of the most formidable, vocally satisfying portrayals of the role of Tosca in years. The thrilling security with which she attacks one top note after another is a delight.
The Guardian



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