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Auditorium de Dijon11 Boulevard de Verdun, Dijon, Bourgogne-Franche-Comté, France
Dates/horaires selon le fuseau horaire de Paris
mercredi 24 février 202120:00
vendredi 26 février 202120:00
dimanche 28 février 202115:00
mardi 02 mars 202120:00
samedi 06 mars 202120:00
Puccini, Giacomo (1858-1924)ToscaLivret de Luigi Illica, Giuseppe Giacosa
Opéra de Dijon
Roberto Rizzi BrignoliDirection
David BobéeMetteur en scène
Aurélie LemaignenDécors
Sabine SiegwaltCostumes
Sunyoung SeoSopranoFloria Tosca
Mykhailo MalafiiTénorMario Cavaradossi
Dario SolariBarytonBaron Scarpia
Michael MofidianBaryton-basseCesare Angelotti
Camille TresmontantTénorSpoletta
Antoine FoulonBasseSciarrone
Laurent KublaBarytonSacristan (Sagrestano)
Stéphane Babi-AubertLumières
Wojtek DoroszukVidéographie
Orchestre Dijon Bourgogne
Chœur de l'Opéra de Dijon
Nicolas ChesneauChef de choeur

In choosing an admired diva as his heroine, Puccini hit upon an idea of pure genius. Floria Tosca, a sublime singer completely devoted to her art and her love, thus takes on the dimensions of an icon to the art of song, deploying around her one of the most fertile machinations of the genre : on the stage, a singer acts and sings the role of a singer — as she herself at times sings at the start of Act II — and thus becomes like Orpheus a metaphor of the lyric art itself. At a time when the domination of opera would become increasingly contested, it sings its own celebration in a sublime act of art and love. "Vissi d’arte" : the immense emotional range of these few now-mythic measures owes as much to its dramatic context — one of the rare true moments of introspection in the work — as to the way it reflects within itself, in anamorphosis, the opera itself and all the magic of the voice. In addition to this stroke of genius, Puccini was able to begin the new century with an opera on the arbitrary violence of corrupt power in dialogue with itself, and the pernicious ties that power weaves through art and artists. This explains much about how Tosca continues, still today, to intrigue us. These questions are brought to the stage by director David Bobée, under the dramatic and rigorous baton of conductor Roberto Rizzi-Brignoli.

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