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♪♪
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♪♪
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-Hello.
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I'm Isabel Leonard,
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and I'm delighted
to be your host
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for today's performance of the
Met's sumptuous new production
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of Puccini's "Tosca."
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When the Met's general manager
Peter Gelb
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commissioned director
David McVicar
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and designer John Macfarlane
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to create
a new "Tosca" for the Met,
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he requested that
it be visually spectacular
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and theatrically gripping.
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As you will soon see, what
McVicar and Macfarlane achieved
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was all of that and more,
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not to mention
the thrilling cast
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that will soon have
your pulses racing.
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Soprano Sonya Yoncheva is Tosca,
the fiery diva.
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Tenor Vittorio Grigolo
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is the idealistic artist
Mario Cavaradossi.
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And Baritone Zeljko Lucic
is Scarpia,
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the contemptible
chief of police.
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Their fates are forever linked
by passion, deceit, and revenge.
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Welcome to Rome
in the Napoleonic era.
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Today's conductor
is Emmanuel Villaume,
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who is ready to go to the pit.
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Here is the Met's new "Tosca."
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[ Applause ]
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[ Applause continues ]
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[ Applause fades ]
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[ Dramatic music plays ]
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Here, at last! In my terror,
I saw police everywhere!
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The holy water, the column....
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"At the feet of the Madonna," my sister wrote.
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Here is the key! And there is the chapel!
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Always more paintbrushes to clean!
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And they're dirtier than
the collar of a poor country priest!
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Sir, is that you?
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No, it's no one.
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I thought I heard the painter Cavaradossi come back.
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I was wrong.
His lunch hasn't been touched.
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[ Bell tolling ]
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The angel of the Lord declared...
Hail Mary, full of grace....
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What are you doing?
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Reciting the Angelus.
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That's her! It's her portrait!
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Whose?
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The woman who's been here
the past few mornings.
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The one who's been praying so devoutly.
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It's true.
She was engrossed in her prayers.
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I painted her lovely face without her noticing me.
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Away, you Satan! Away!
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Hand me my paints.
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Such mysterious harmony
between contrasting beauties!
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My own darling Floria has dark hair.
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Paint the heathens, but leave the saints alone!
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And you, my unknown beauty,
are crowned with golden hair.
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While your eyes are blue,
my Tosca's eyes are dark.
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Paint the heathens,
but leave the saints alone!
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Art, in its mysterious way,
has blended both beauties into one.
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But no matter whom I paint...
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...my thoughts are of only one woman.
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I have vowed my love only to you!
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Tosca! Only you!
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These damned rebels are enemies
of our royalist government.
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But there's no use talking to them.
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Mock the heathens, but leave the saints alone.
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They'll never repent, not one of them.
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It's best to just make the sign of the cross.
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Sir, I'm leaving.
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You didn't eat. Are you fasting?
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–I'm not hungry.
–What a pity!
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Lock the door when you leave.
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It's you! Cavaradossi!
Heaven sent you to me!
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You don't recognize me?
Has prison changed me so much?
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Angelotti!
The Consul of our defeated republic!
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I escaped from the Castel Sant'Angelo.
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Tell me what I can do.
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Hide! It's my jealous sweetheart!
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I'll send her away.
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I'm so exhausted I can't stand.
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Take this food and wine.
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-♪ Presto ♪
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-♪ Grazie ♪
-♪ Presto ♪
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Mario! Mario!
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I'm here.
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–Why did you lock the door?
–The sacristan asked me to.
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Who were you talking to?
I heard you whispering.
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Where is she? I heard footsteps
and the rustle of her dress.
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You're dreaming.
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Do you deny it?
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I love only you.
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Not in front of the Madonna.
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First let me pray to her and offer her flowers.
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Listen...I'm performing tonight,
but it will end early.
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Meet me, and we'll go to your villa
and be alone, all alone.
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This evening?
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There will be a full moon
and a night perfumed with flowers.
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A night of ecstasy.
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Aren't you pleased?
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Very.
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–Say it again!
–Very much!
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00:16:18,779 --> 00:16:21,982
You're not very convincing.
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00:16:25,452 --> 00:16:35,295
Don't you long for our little villa,
hidden in the woods?
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Our secret nest, full of love and mystery.
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Side by side, in the starry darkness...
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...we'll hear all the voices of nature.
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The woods, the brambles, the tall grasses...
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...and the deserted graveyard,
fragrant with the scent of thyme.
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Everything in the night murmurs of love.
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It seduces every heart.
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Let the fields burst into flower!
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Let the mists mingle with the moonlit dawn!
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Rain down, fiery stars!
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Tosca is burning with love!
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You've captured me, my siren!
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Tosca's heart is burning with love!
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My siren, I'll join you.
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Oh, my love!
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Now be on your way.
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–Do I have to?
–I must return to my work.
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I'm going.
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-[ Gasps ]
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Who is that blond woman?
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Mary Magdalene.
Do you like her?
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00:19:23,197 --> 00:19:25,632
She's too pretty!
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Such praise!
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00:19:27,968 --> 00:19:31,205
I've seen these blue eyes before.
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The world is full of them.
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Wait. I know her....
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It's the Marchesa Attavanti!
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You've met her?
Does she love you? Do you love her?
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00:19:52,826 --> 00:20:00,534
Those footsteps, that whispering!
She was just here!
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00:20:07,207 --> 00:20:14,047
I saw her yesterday, purely by chance.
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She came here to pray,
and unnoticed, I painted her.
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00:20:22,856 --> 00:20:24,625
You swear?
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00:20:24,691 --> 00:20:25,792
I swear!
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00:20:27,761 --> 00:20:32,132
How her eyes stare at me!
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00:20:32,165 --> 00:20:37,337
–Come now....
–She's laughing at me.
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00:20:38,906 --> 00:20:41,408
Nonsense!
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00:20:45,512 --> 00:20:48,048
Oh, those eyes....
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00:20:50,117 --> 00:20:58,358
What, in all the world, could compare
to your dark, burning eyes?
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00:21:05,632 --> 00:21:14,608
My whole life is bound up
in those eyes of yours.
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00:21:19,112 --> 00:21:27,487
Eyes so soft in love, so fierce in anger.
145
00:21:32,492 --> 00:21:42,703
What, in all the world, could compare
to your dark eyes?
146
00:21:50,143 --> 00:22:00,754
Oh, you know how to make me love you.
147
00:22:07,494 --> 00:22:13,400
But paint her eyes...
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...dark!
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My jealous darling....
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00:22:25,779 --> 00:22:30,884
Yes, I know I torture you.
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00:22:34,655 --> 00:22:37,491
My jealous one....
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00:22:37,558 --> 00:22:42,696
But I know you'll forgive me.
153
00:22:43,830 --> 00:22:58,345
You'd forgive my jealousy
if you understood how much I suffer.
154
00:23:01,648 --> 00:23:10,390
Tosca, my darling, I love everything about you.
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00:23:38,118 --> 00:23:48,529
Say those loving words
again and again. Reassure me.
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My life...my anxious darling,
I'll say these words forever....
157
00:24:02,476 --> 00:24:07,681
Floria, I love you.
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00:24:09,983 --> 00:24:16,290
Set your uneasy heart at rest.
159
00:24:20,761 --> 00:24:28,101
I'll say it forever: I love you!
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00:24:32,706 --> 00:24:36,343
We're forgetting we're in church!
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00:24:36,376 --> 00:24:40,314
And you've messed my hair.
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00:24:41,215 --> 00:24:44,017
Please, time to go.
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00:24:45,519 --> 00:24:49,523
Work here until tonight.
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Promise me that no woman,
blond or dark, will come here to pray.
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I swear it, my love. Now go.
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00:25:09,643 --> 00:25:11,879
What's the hurry?
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00:25:13,647 --> 00:25:16,850
Pardon me.
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In front of the Madonna?
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She's so forgiving.
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But remember, make her eyes dark!
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[ Applause ]
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My Tosca is very devout.
She tells her confessor everything.
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00:26:42,035 --> 00:26:46,640
So it was safer to keep quiet.
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00:26:47,941 --> 00:26:52,746
–We're alone?
–Yes, what do you plan to do?
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00:26:52,779 --> 00:26:57,684
I must flee the country or hide here in Rome.
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00:26:58,352 --> 00:27:02,089
–My sister....
–The Marchesa Attavanti?
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00:27:02,155 --> 00:27:08,762
Yes, she hid women's clothes for me in the chapel.
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00:27:09,530 --> 00:27:12,199
A dress, veil, and fan.
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00:27:16,270 --> 00:27:20,140
When night falls, I'll leave in disguise.
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00:27:23,744 --> 00:27:30,684
Now I understand her guarded look
and fervent prayers.
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00:27:30,751 --> 00:27:38,825
I had suspected the young beauty
had a secret love.
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00:27:40,894 --> 00:27:43,030
Now I understand.
183
00:27:45,299 --> 00:27:48,035
It was a sister's love!
184
00:27:49,803 --> 00:27:56,510
She has risked everything
to save me from Scarpia.
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00:28:03,550 --> 00:28:06,787
That hypocrite! That lecher!
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00:28:06,820 --> 00:28:11,358
He hides his vile lust behind his false piety.
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00:28:11,391 --> 00:28:17,664
The confessor and the hangman are his agents.
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00:28:22,336 --> 00:28:30,878
Even if it costs me my life, I'll save you!
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00:28:33,647 --> 00:28:36,283
But it's too dangerous to wait until dark.
190
00:28:36,316 --> 00:28:38,685
But now? In the daylight?
191
00:28:38,752 --> 00:28:46,793
The chapel path leads to a garden.
Beyond it you'll find my villa.
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00:28:46,860 --> 00:28:49,696
–I know it.
–Here's the key.
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00:28:50,430 --> 00:28:56,436
I'll join you there by evening.
Take the clothes your sister left.
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00:29:12,519 --> 00:29:17,524
–Should I wear them?
–No, no one will see you now.
195
00:29:26,633 --> 00:29:29,603
If you're in danger, go to the garden well.
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00:29:30,571 --> 00:29:37,845
Halfway down you'll find an opening
that leads to a small cave.
197
00:29:40,747 --> 00:29:43,717
You'll be safe there.
198
00:29:46,420 --> 00:29:48,322
The fortress cannon!
199
00:29:48,388 --> 00:29:51,158
They've discovered your escape.
200
00:29:51,191 --> 00:29:54,528
Scarpia will unleash his bloodhounds.
201
00:29:54,595 --> 00:29:57,998
–Goodbye.
–I'll go with you.
202
00:29:59,399 --> 00:30:01,902
The battle has begun!
203
00:30:08,742 --> 00:30:11,445
Wonderful news, your Excellency!
204
00:30:11,512 --> 00:30:14,114
Oh, he's gone. Too bad.
205
00:30:14,147 --> 00:30:22,890
Whoever can irritate a heathen is doubly blessed!
206
00:30:26,727 --> 00:30:29,129
Choirboys, listen!
207
00:30:31,899 --> 00:30:35,869
Did you hear about that villain Bonaparte?
208
00:30:37,137 --> 00:30:41,141
He's been crushed and sent to the devil!
209
00:30:41,175 --> 00:30:42,843
We don't believe it!
210
00:30:42,910 --> 00:30:44,578
It's true!
211
00:30:45,445 --> 00:30:47,447
I just heard the news.
212
00:30:47,481 --> 00:30:49,249
Let's celebrate!
213
00:30:50,384 --> 00:30:57,124
There'll be a torchlight procession
tonight at the Farnese Palace.
214
00:30:58,292 --> 00:31:02,729
And a new cantata, performed by Floria Tosca.
215
00:31:05,065 --> 00:31:09,603
And in the churches, hymns to the Lord.
216
00:31:10,304 --> 00:31:12,406
Go on now, get ready.
217
00:31:14,875 --> 00:31:19,146
Double pay. Te Deum, Gloria! Long live the King!
218
00:31:19,179 --> 00:31:24,084
Let's celebrate the victory!
219
00:31:48,108 --> 00:31:51,612
Such an uproar in church?
220
00:31:54,982 --> 00:31:57,117
Fine respect!
221
00:31:57,184 --> 00:31:59,887
Your Excellency, we were celebrating....
222
00:32:01,421 --> 00:32:03,457
Get ready for the Te Deum.
223
00:32:08,295 --> 00:32:13,133
You! Take a few men
and search every corner.
224
00:32:14,101 --> 00:32:16,570
Watch the doors.
225
00:32:18,138 --> 00:32:20,974
But don't arouse suspicion.
226
00:32:22,943 --> 00:32:24,978
And now for you.
227
00:32:25,913 --> 00:32:28,682
Be careful how you answer.
228
00:32:28,749 --> 00:32:35,455
A prisoner of the state has escaped
from the Castel Sant'Angelo.
229
00:32:36,924 --> 00:32:39,259
–He hid here.
–Lord have mercy!
230
00:32:41,228 --> 00:32:46,133
He may still be here.
Show us the Attavanti chapel.
231
00:32:49,736 --> 00:32:53,774
Why, it's unlocked!
232
00:32:55,008 --> 00:32:57,544
Someone must have another key!
233
00:32:58,545 --> 00:33:00,914
That's a valuable clue.
234
00:33:04,685 --> 00:33:07,154
Let's go.
235
00:33:16,663 --> 00:33:25,038
Firing that cannon was a mistake.
The criminal has fled.
236
00:33:27,140 --> 00:33:32,312
But he left behind a precious clue.
237
00:33:32,946 --> 00:33:36,083
A fan!
238
00:33:42,256 --> 00:33:47,594
So he had an accomplice in his escape.
239
00:33:57,604 --> 00:34:03,443
The Marchesa Attavanti!
It's her coat of arms.
240
00:34:19,326 --> 00:34:23,130
Her portrait! Who painted that?
241
00:34:23,664 --> 00:34:25,499
Cavalier Cavaradossi.
242
00:34:32,606 --> 00:34:33,941
Heavens! The basket!
243
00:34:36,877 --> 00:34:42,216
He is Tosca's lover.
A political suspect, a rebel!
244
00:34:43,483 --> 00:34:46,486
–It's empty!
–What is it? Speak up!
245
00:34:47,154 --> 00:34:50,324
They found this basket in the chapel.
246
00:34:50,390 --> 00:34:52,526
–You recognize it?
–Certainly.
247
00:34:53,327 --> 00:34:56,663
It belongs to the painter, but–
248
00:34:56,730 --> 00:34:58,665
Tell me what you know.
249
00:34:58,732 --> 00:35:05,305
I had left a delicious lunch in it for him.
250
00:35:06,707 --> 00:35:08,709
Well, he ate it.
251
00:35:09,076 --> 00:35:12,880
In the chapel? He had no key.
252
00:35:12,946 --> 00:35:20,087
Besides, he wasn't hungry.
So I set it aside for myself.
253
00:35:23,891 --> 00:35:25,492
(God help me!)
254
00:35:28,562 --> 00:35:29,863
-Oh!
255
00:35:36,537 --> 00:35:46,847
It's clear now.
The sacristan's lunch went to Angelotti.
256
00:35:53,620 --> 00:36:02,362
Tosca! Now I'll reduce
a jealous woman to despair.
257
00:36:03,797 --> 00:36:09,102
Iago used a handkerchief.
I have a fan!
258
00:36:11,004 --> 00:36:17,778
The painter Cavaradossi disappeared, just like magic.
259
00:36:18,912 --> 00:36:22,883
Did Mario deceive me?
260
00:36:23,550 --> 00:36:27,688
No, he couldn't be unfaithful!
261
00:36:38,732 --> 00:36:47,074
My divine Tosca, my hand awaits yours.
262
00:36:49,243 --> 00:36:57,184
Not in courtship, but to offer you holy water.
263
00:37:03,824 --> 00:37:09,863
You set a noble example for us.
264
00:37:09,897 --> 00:37:14,868
Your singing makes the heavens resound.
265
00:37:14,935 --> 00:37:22,643
And the religious fervor of your art revives our faith.
266
00:37:25,112 --> 00:37:30,417
Devout women are rare.
Though the stage is your life...
267
00:37:30,484 --> 00:37:34,955
...you still come to church to pray.
268
00:37:36,690 --> 00:37:38,892
What are you implying?
269
00:37:38,926 --> 00:37:45,165
Not like some brazen women
who resemble Mary Magdalene...
270
00:37:46,567 --> 00:37:51,238
...and come here to meet their lovers!
271
00:37:51,305 --> 00:37:55,409
What proof do you have?
272
00:37:58,812 --> 00:38:02,082
Is this fan a painter's tool?
273
00:38:02,149 --> 00:38:04,918
Where did you get it?
274
00:38:04,985 --> 00:38:08,522
It was there on that platform.
275
00:38:12,559 --> 00:38:17,464
Someone disturbed the lovers.
276
00:38:18,298 --> 00:38:20,868
As she fled, she dropped her fan.
277
00:38:23,604 --> 00:38:31,478
This coat of arms belongs to that Attavanti woman!
278
00:38:32,079 --> 00:38:34,915
Just as I suspected!
279
00:38:34,948 --> 00:38:37,818
(My plan is working.)
280
00:38:39,686 --> 00:38:46,894
And I was just coming to give him the sad news...
281
00:38:50,831 --> 00:38:56,670
...that we've lost our night of love.
282
00:39:00,874 --> 00:39:08,148
His devoted Tosca is a captive.
283
00:39:12,386 --> 00:39:15,355
(My poison is already working.)
284
00:39:16,723 --> 00:39:26,934
A captive of tonight's celebration.
285
00:39:31,004 --> 00:39:34,675
(Yes, my plan is working.)
286
00:39:42,716 --> 00:39:47,154
What's wrong, sweet lady?
287
00:39:50,591 --> 00:39:56,296
A rebel tear is running down your lovely cheek.
288
00:39:56,864 --> 00:40:02,336
What is it, dear lady?
289
00:40:06,640 --> 00:40:08,141
Nothing.
290
00:40:09,443 --> 00:40:15,249
I would give my life to dry that tear.
291
00:40:18,619 --> 00:40:26,493
While I'm here weeping, he's in
another woman's arms, mocking me!
292
00:40:26,560 --> 00:40:29,530
(The poison strikes!)
293
00:40:31,431 --> 00:40:37,905
Where are they?
If I could catch them together....
294
00:40:38,772 --> 00:40:45,579
To think that he shares his villa with two lovers.
295
00:40:47,614 --> 00:40:50,984
The traitor!
296
00:40:55,889 --> 00:40:58,792
My love nest, defiled!
297
00:40:59,593 --> 00:41:02,162
I'll surprise them there!
298
00:41:05,666 --> 00:41:09,403
You won't have him tonight! I swear it!
299
00:41:09,469 --> 00:41:11,839
In church!
300
00:41:13,373 --> 00:41:16,844
God will forgive me.
301
00:41:27,554 --> 00:41:35,162
He sees that I'm weeping.
302
00:42:55,576 --> 00:42:59,046
[ Bells tolling ]
303
00:42:59,246 --> 00:43:08,589
Three men and a carriage. Hurry!
Follow her. Don't let her see you.
304
00:43:08,655 --> 00:43:11,124
Very well.
Where shall we meet?
305
00:43:11,191 --> 00:43:14,061
The Farnese Palace.
306
00:43:22,236 --> 00:43:25,038
Go, Tosca!
307
00:43:28,275 --> 00:43:34,114
Scarpia is now lodged in your heart!
308
00:43:38,685 --> 00:43:41,321
Go, Tosca!
309
00:43:46,159 --> 00:43:53,033
Scarpia has unleashed a falcon–your wild jealousy.
310
00:43:58,138 --> 00:44:04,278
Your quick suspicion holds great promise.
311
00:44:08,949 --> 00:44:13,453
Scarpia is now lodged in your heart.
312
00:44:19,793 --> 00:44:22,629
Go, Tosca!
313
00:44:29,102 --> 00:44:34,575
Our help is in the name of the Lord,
He who made heaven and earth.
314
00:44:36,410 --> 00:44:43,750
I have two prizes in mind.
315
00:44:47,354 --> 00:44:53,961
And the head of that rebel
is not the most precious one!
316
00:44:59,333 --> 00:45:06,573
I want to see those flaming,
triumphant eyes of hers...
317
00:45:07,975 --> 00:45:15,549
...soften as she trembles with love.
318
00:45:18,385 --> 00:45:22,623
In my arms!
319
00:45:24,358 --> 00:45:29,730
Both of them shall be mine.
320
00:45:32,099 --> 00:45:37,337
Her lover, on the gallows.
321
00:45:37,538 --> 00:45:41,675
And she, in my arms!
322
00:45:42,276 --> 00:45:53,420
We praise Thee, O God.
We acknowledge Thee to be the Lord!
323
00:46:04,231 --> 00:46:09,169
Tosca, you make me forget God!
324
00:46:15,142 --> 00:46:26,320
Everlasting Father, all the earth doth worship Thee!
325
00:47:02,189 --> 00:47:04,191
[ Music Ends ]
326
00:47:04,458 --> 00:47:09,363
[ Cheers and applause ]
327
00:47:11,164 --> 00:47:13,567
[ Applause continues ]
328
00:47:18,238 --> 00:47:20,674
[ Applause continues ]
329
00:47:29,516 --> 00:47:33,453
[ Orchestra tuning ]
330
00:47:33,520 --> 00:47:36,657
[ Tuning continues ]
331
00:47:37,958 --> 00:47:40,694
-At the end of the previous act,
Scarpia has declared
332
00:47:40,761 --> 00:47:43,530
that he will bend Tosca
to his will.
333
00:47:43,597 --> 00:47:45,999
Now we will see
what actually transpires.
334
00:47:47,301 --> 00:47:49,837
[ Applause ]
335
00:47:53,173 --> 00:47:54,975
[ Applause intensifies ]
336
00:47:55,042 --> 00:47:57,477
[ Cheers and applause ]
337
00:47:57,544 --> 00:48:00,948
[ Applause continues ]
338
00:48:03,083 --> 00:48:04,518
[ Applause fades ]
339
00:48:07,988 --> 00:48:10,991
♪♪
340
00:48:37,251 --> 00:48:40,087
Tosca makes a good falcon.
341
00:48:40,921 --> 00:48:47,494
By now, my bloodhounds have
their fangs in our prey.
342
00:48:52,399 --> 00:49:00,073
At dawn, Angelotti and Mario
will hang from the gallows!
343
00:49:08,482 --> 00:49:09,816
[ Bell rings ]
344
00:49:11,952 --> 00:49:13,820
Is Tosca at the palace?
345
00:49:13,854 --> 00:49:17,257
They just sent for her.
346
00:49:38,846 --> 00:49:41,215
It's getting late.
347
00:49:47,688 --> 00:49:53,360
Our diva still hasn't arrived for her performance.
348
00:49:56,063 --> 00:49:58,799
Meanwhile, they're scraping away at a gavotte.
349
00:50:01,168 --> 00:50:05,138
Wait for Tosca at the entrance.
350
00:50:08,575 --> 00:50:13,347
Tell her I expect her after the cantata.
351
00:50:18,986 --> 00:50:20,320
Or better still....
352
00:50:33,901 --> 00:50:37,604
Give her this note.
353
00:50:39,706 --> 00:50:41,575
She'll come...
354
00:50:45,379 --> 00:50:49,449
...for love of her Mario.
355
00:50:50,050 --> 00:50:51,752
[ Chuckles ]
356
00:50:57,024 --> 00:51:04,531
For love of her Mario,
she'll surrender to my desire.
357
00:51:08,435 --> 00:51:14,942
Such are the miserable rewards of true love.
358
00:51:19,746 --> 00:51:27,754
Violent conquest is far more exciting
than gentle consent.
359
00:51:29,756 --> 00:51:37,231
I care nothing for sighs and milky, moonlit dawns.
360
00:51:39,366 --> 00:51:45,706
I can't coax sweet chords from a guitar.
361
00:51:48,809 --> 00:51:55,482
I can't make sheep's eyes,
or coo like a turtledove.
362
00:52:00,153 --> 00:52:07,561
I lust!
Then I pursue the object of my desire.
363
00:52:07,628 --> 00:52:13,100
I satisfy myself, throw her aside,
and turn to new conquests.
364
00:52:15,169 --> 00:52:20,941
God created different beauties, different wines.
365
00:52:22,209 --> 00:52:28,182
I want to taste as many divine creations as I can!
366
00:52:33,687 --> 00:52:35,289
Spoletta is here.
367
00:52:35,322 --> 00:52:36,790
Just in time.
368
00:52:42,996 --> 00:52:45,933
How was the hunt?
369
00:52:46,233 --> 00:52:48,068
(Help me, Saint Ignatius!)
370
00:52:48,869 --> 00:52:54,641
We followed the lady to a villa
hidden in the woods.
371
00:52:56,643 --> 00:53:01,348
She entered, then came out alone.
372
00:53:01,682 --> 00:53:08,422
I climbed over the garden wall
and entered the house.
373
00:53:10,190 --> 00:53:12,092
Good work, Spoletta!
374
00:53:13,327 --> 00:53:16,129
I sniffed. I rummaged. I searched.
375
00:53:18,098 --> 00:53:19,566
And Angelotti?
376
00:53:19,600 --> 00:53:20,801
Not a trace!
377
00:53:20,868 --> 00:53:26,740
Dog! Traitor! You'll hang!
378
00:53:31,912 --> 00:53:34,248
–The painter was there.
–Cavaradossi?
379
00:53:36,250 --> 00:53:39,453
He knows where Angelotti is hiding.
380
00:53:39,486 --> 00:53:47,160
His mocking words gave him away.
So I arrested him.
381
00:53:48,095 --> 00:53:50,097
That's better.
382
00:53:53,233 --> 00:53:54,835
He's outside.
383
00:54:00,207 --> 00:54:03,443
Bring the gentleman in.
384
00:54:05,078 --> 00:54:09,616
And send in Roberti and the judge.
385
00:54:21,195 --> 00:54:23,197
This is an outrage!
386
00:54:23,597 --> 00:54:27,234
Sir, please be seated.
387
00:54:28,468 --> 00:54:31,205
–Why am I here?
–Sit down.
388
00:54:31,271 --> 00:54:32,906
I'm waiting.
389
00:54:43,851 --> 00:54:46,486
You know that a prisoner...
390
00:54:47,387 --> 00:54:48,655
Tosca's voice!
391
00:54:53,427 --> 00:55:02,169
You know that a prisoner escaped
from the Castel Sant'Angelo.
392
00:55:04,371 --> 00:55:13,380
You met him in the church and
gave him food and clothing.
393
00:55:16,650 --> 00:55:18,151
Lies!
394
00:55:18,652 --> 00:55:23,724
Then you took him to your villa.
395
00:55:23,757 --> 00:55:25,792
I deny it! Your proof?
396
00:55:26,126 --> 00:55:28,395
A faithful subject.
397
00:55:28,428 --> 00:55:32,132
The facts–who accuses me?
398
00:55:32,900 --> 00:55:37,004
Your men searched my villa
and found no one.
399
00:55:39,373 --> 00:55:41,408
That means he's well hidden.
400
00:55:41,475 --> 00:55:43,911
The suspicions of your spy!
401
00:55:45,379 --> 00:55:50,217
He laughed while we searched.
402
00:55:50,284 --> 00:55:53,520
And I'm still laughing!
403
00:55:55,088 --> 00:55:58,392
This is a place for tears!
404
00:55:59,893 --> 00:56:01,562
Be careful!
405
00:56:03,430 --> 00:56:08,235
Enough of this! You will talk!
406
00:56:18,345 --> 00:56:20,914
Where is Angelotti?
407
00:56:21,648 --> 00:56:22,983
I don't know.
408
00:56:23,383 --> 00:56:31,792
You deny giving him food and
hiding him in your villa?
409
00:56:32,659 --> 00:56:33,994
I deny it all!
410
00:56:41,001 --> 00:56:48,742
It's foolish to be so stubborn.
411
00:56:50,310 --> 00:56:56,950
A quick confession will save
you a great deal of pain.
412
00:57:03,657 --> 00:57:07,327
I advise you to tell me.
413
00:57:11,098 --> 00:57:13,133
Where is Angelotti?
414
00:57:15,502 --> 00:57:16,537
I don't know.
415
00:57:17,971 --> 00:57:22,409
For the last time, where is he?
416
00:57:22,943 --> 00:57:24,011
I don't know.
417
00:57:26,246 --> 00:57:28,448
(The noose is tightening.)
418
00:57:33,153 --> 00:57:36,723
(Don't tell them anything or they'll kill me!)
419
00:57:38,792 --> 00:57:46,567
Mario Cavaradossi,
the judge awaits your testimony.
420
00:58:00,214 --> 00:58:06,887
The usual procedures first.
Then...as I instruct.
421
00:59:22,563 --> 00:59:27,334
Now let's talk like good friends.
422
00:59:31,338 --> 00:59:36,176
Don't look so frightened.
423
00:59:36,210 --> 00:59:40,347
I'm not frightened in the least.
424
00:59:43,750 --> 00:59:47,454
What about that fan?
425
00:59:48,455 --> 00:59:52,025
Just foolish jealousy.
426
00:59:53,126 --> 00:59:57,431
The Attavanti woman wasn't at the villa?
427
00:59:57,998 --> 01:00:01,435
No, he was alone.
428
01:00:06,240 --> 01:00:09,176
You're quite sure of that?
429
01:00:10,811 --> 01:00:16,850
Nothing escapes a jealous woman.
He was alone!
430
01:00:18,886 --> 01:00:20,220
Indeed?
431
01:00:20,287 --> 01:00:22,523
Alone, yes!
432
01:00:24,324 --> 01:00:34,301
Such a fiery outburst!
As if you're afraid you'll reveal something.
433
01:00:37,437 --> 01:00:42,576
Sciarrone, what does the gentleman say?
434
01:00:43,243 --> 01:00:44,077
Nothing.
435
01:00:46,246 --> 01:00:47,748
Let's insist!
436
01:00:48,649 --> 01:00:51,018
It's useless.
437
01:00:51,818 --> 01:00:54,655
That remains to be seen.
438
01:00:54,688 --> 01:00:59,726
So we have to lie to please you?
439
01:01:01,228 --> 01:01:09,236
The truth could shorten a very painful hour for him.
440
01:01:11,672 --> 01:01:19,513
A painful hour? What do you mean?
What's going on in that room?
441
01:01:20,314 --> 01:01:23,217
The law must be enforced.
442
01:01:23,250 --> 01:01:27,521
Oh God! What are you doing to him?
443
01:01:30,123 --> 01:01:36,396
Your lover is bound hand and foot,
with a spiked ring around his head.
444
01:01:37,397 --> 01:01:44,972
With each denial it tightens,
ruthlessly drawing spurts of blood!
445
01:01:45,005 --> 01:01:49,810
It's not true.
You're gloating, you demon!
446
01:02:07,094 --> 01:02:11,465
Have mercy! Mercy!
447
01:02:12,733 --> 01:02:18,772
–It's up to you to save him.
–All right! But put a stop to it now.
448
01:02:18,805 --> 01:02:21,208
Sciarrone, loosen his bonds.
449
01:02:24,344 --> 01:02:25,479
Completely?
450
01:02:26,413 --> 01:02:27,614
Completely.
451
01:02:37,391 --> 01:02:40,027
Now the truth.
452
01:02:40,093 --> 01:02:42,329
Let me see him.
453
01:02:42,396 --> 01:02:43,463
-♪ No ♪
454
01:03:02,783 --> 01:03:04,117
-♪ Mario ♪
455
01:03:04,184 --> 01:03:05,786
-♪ Tosca ♪
456
01:03:06,320 --> 01:03:10,457
Are they still torturing you?
457
01:03:11,925 --> 01:03:16,630
No, be brave. Say nothing!
458
01:03:24,037 --> 01:03:27,140
I scoff at pain.
459
01:03:34,314 --> 01:03:37,618
Now, Tosca, speak.
460
01:03:38,886 --> 01:03:41,855
I don't know anything.
461
01:03:45,626 --> 01:03:50,731
You haven't had enough?
Roberti, continue!
462
01:03:54,401 --> 01:04:01,909
Monster! You're torturing him.
463
01:04:07,681 --> 01:04:09,850
You'll kill him!
464
01:04:09,883 --> 01:04:14,922
Your silence will torture him far more!
465
01:04:20,661 --> 01:04:23,096
You laugh at his pain?
466
01:04:23,130 --> 01:04:26,500
Tosca was never more tragic on the stage!
467
01:04:31,271 --> 01:04:35,709
Open the door so she can hear him scream.
468
01:04:37,678 --> 01:04:39,513
I defy you!
469
01:04:42,683 --> 01:04:44,985
Harder! Harder!
470
01:04:50,858 --> 01:04:55,295
I know nothing. Must I lie?
471
01:04:55,362 --> 01:05:00,033
Where is Angelotti?
472
01:04:57,931 --> 01:05:04,938
-♪ No, no, no, no ♪
473
01:05:05,439 --> 01:05:11,345
–I can't bear it!
–Just tell me where he's hiding!
474
01:05:13,447 --> 01:05:19,052
Stop torturing him!
No one can stand so much suffering!
475
01:05:20,888 --> 01:05:27,828
I can't bear any more!
476
01:05:31,765 --> 01:05:33,834
-♪ Ahimè ♪
477
01:05:35,369 --> 01:05:41,208
Mario, will you let me speak?
478
01:05:41,375 --> 01:05:43,443
♪ No, no ♪
479
01:05:47,681 --> 01:05:49,850
I can't stand any more.
480
01:05:49,917 --> 01:05:56,056
You fool! What do you know?
What could you tell them?
481
01:05:57,925 --> 01:05:59,593
Silence him!
482
01:06:07,968 --> 01:06:11,471
What have I ever done to you?
483
01:06:14,341 --> 01:06:18,412
You're torturing me as well!
484
01:06:20,314 --> 01:06:26,820
You're torturing my very soul.
485
01:06:35,796 --> 01:06:38,599
Nothing will go unpunished on Judgment Day.
486
01:06:39,066 --> 01:06:40,601
[ Screams ]
487
01:06:42,703 --> 01:06:46,507
–In the garden well....
–Angelotti is there?
488
01:06:46,540 --> 01:06:47,307
-♪ Si ♪
489
01:06:51,011 --> 01:06:52,980
Enough, Roberti.
490
01:06:58,352 --> 01:06:59,453
He's fainted.
491
01:06:59,486 --> 01:07:00,854
You murderer!
492
01:07:02,456 --> 01:07:04,525
I want to see him.
493
01:07:11,965 --> 01:07:14,902
Bring him here.
494
01:07:44,565 --> 01:07:47,000
Floria!
495
01:07:47,401 --> 01:07:52,673
–My love.
–Is it you?
496
01:07:54,808 --> 01:07:59,980
How you've suffered, my darling.
497
01:08:01,148 --> 01:08:05,052
But the good Lord will punish him.
498
01:08:06,820 --> 01:08:11,391
Tosca, did you talk?
499
01:08:11,458 --> 01:08:13,760
No, my love.
500
01:08:17,331 --> 01:08:18,699
[ Thuds ]
501
01:08:18,765 --> 01:08:21,902
In the garden well...get him!
502
01:08:24,271 --> 01:08:28,008
You betrayed me! Damn you!
503
01:08:29,810 --> 01:08:31,545
Baron, terrible news!
504
01:08:31,578 --> 01:08:32,946
What now?
505
01:08:32,980 --> 01:08:34,548
We've been defeated!
506
01:08:34,581 --> 01:08:36,049
How? Where?
507
01:08:36,116 --> 01:08:38,986
Bonaparte has won at Marengo!
508
01:08:39,019 --> 01:08:42,289
–General Melas?
–Melas is retreating!
509
01:08:54,935 --> 01:09:01,175
Victory!
510
01:09:02,042 --> 01:09:08,148
-♪ Vittoria! ♪
511
01:09:09,216 --> 01:09:13,887
A new day has dawned!
Let the wicked tremble!
512
01:09:14,354 --> 01:09:19,393
Freedom is reborn, and tyranny crumbles!
513
01:09:19,459 --> 01:09:21,728
Mario, stop, I beg you!
514
01:09:21,762 --> 01:09:26,867
I suffered your tortures, and still I rejoice!
515
01:09:26,900 --> 01:09:31,705
Tremble Scarpia! A fine executioner!
516
01:09:31,772 --> 01:09:35,876
Rage on!
Your insults only prove your guilt!
517
01:09:36,643 --> 01:09:41,982
Go to the gallows! You're a dead man!
518
01:09:49,656 --> 01:09:55,796
Mario, Mario! My love!
519
01:09:57,397 --> 01:09:58,932
You stay!
520
01:10:15,449 --> 01:10:17,985
Save him.
521
01:10:18,752 --> 01:10:21,588
I...? You.
522
01:10:26,793 --> 01:10:31,565
My poor dinner was interrupted.
523
01:10:36,503 --> 01:10:44,478
Why so distraught?
Come, dear lady, sit down.
524
01:10:49,883 --> 01:10:56,657
Together, let's try to find a way to save him.
525
01:11:04,298 --> 01:11:08,035
Let's talk it over.
526
01:11:10,003 --> 01:11:12,606
Meanwhile, have a sip.
527
01:11:15,475 --> 01:11:18,979
A nice Spanish wine.
528
01:11:22,683 --> 01:11:30,157
A little sip to cheer you.
529
01:11:36,597 --> 01:11:38,232
How much?
530
01:11:40,534 --> 01:11:41,969
Your price!
531
01:11:46,607 --> 01:11:52,880
Yes, they say I can be bought.
532
01:11:54,515 --> 01:11:58,952
But I won't sell myself to a beautiful woman.
533
01:11:58,986 --> 01:12:02,122
Not for money.
534
01:12:07,828 --> 01:12:16,436
No matter how beautiful,
money wouldn't suffice.
535
01:12:25,579 --> 01:12:34,888
If I'm to betray my oath,
I want a richer reward.
536
01:12:37,357 --> 01:12:40,994
I want a richer reward.
537
01:12:44,198 --> 01:12:49,636
This is the moment I've been waiting for!
538
01:12:52,005 --> 01:12:58,912
I was already consumed
by my love for you, my diva.
539
01:13:00,781 --> 01:13:08,856
But just now, I saw you
as I've never seen you before.
540
01:13:13,227 --> 01:13:20,100
Your tears ignited my passion.
541
01:13:22,903 --> 01:13:31,111
And your blazing look of hatred
only inflamed my desire!
542
01:13:35,682 --> 01:13:42,356
Lithe as a leopard, you clung to your lover.
543
01:13:45,225 --> 01:13:51,698
In that moment, I swore you'd be mine!
544
01:13:57,237 --> 01:13:58,739
Yes, I'll have you!
545
01:14:03,577 --> 01:14:06,580
I'd rather kill myself!
546
01:14:06,613 --> 01:14:09,516
Then I'll keep Mario as my hostage.
547
01:14:09,583 --> 01:14:12,920
What a horrible bargain!
548
01:14:13,787 --> 01:14:18,192
I'll do you no violence.
549
01:14:20,561 --> 01:14:25,332
You're free. Leave.
550
01:14:29,169 --> 01:14:33,674
But you hope in vain.
551
01:14:35,309 --> 01:14:42,282
The queen won't be able to pardon a corpse.
552
01:14:47,654 --> 01:14:48,689
[ Thumps ]
553
01:14:49,323 --> 01:14:51,158
How you hate me!
554
01:14:51,191 --> 01:14:53,427
Oh, God!
555
01:14:53,460 --> 01:14:56,396
This is how I want you!
556
01:14:57,364 --> 01:15:02,336
You won't touch me, you demon.
I despise you!
557
01:15:04,471 --> 01:15:10,010
What's the difference?
Spasms of hate or spasms of love!
558
01:15:18,151 --> 01:15:20,621
Help me!
559
01:15:22,122 --> 01:15:25,292
[ Rhythmic drumming ]
560
01:15:25,792 --> 01:15:31,565
Do you hear that?
The last call to the condemned men.
561
01:15:33,233 --> 01:15:39,506
Time is short, and terrible work
is being done out there.
562
01:15:41,375 --> 01:15:44,978
They're preparing the gallows!
563
01:15:51,518 --> 01:15:57,391
Because of you,
your Mario has only an hour to live.
564
01:16:10,537 --> 01:16:17,010
I have lived for art.
565
01:16:19,613 --> 01:16:27,521
I have lived for love.
566
01:16:30,490 --> 01:16:40,300
I have never harmed a living soul.
567
01:16:45,172 --> 01:16:58,852
Whenever I saw misfortune,
I quietly offered help.
568
01:17:18,071 --> 01:17:22,910
I was always sincere in my faith.
569
01:17:26,079 --> 01:17:33,787
I prayed with true devotion at the holy tabernacles.
570
01:17:35,589 --> 01:17:47,568
I gave flowers to place upon the altars.
571
01:17:58,512 --> 01:18:13,894
Now in my hour of grief, Lord,
why do You repay me this way?
572
01:18:27,474 --> 01:18:34,314
I gave my jewels to adorn the Madonna's robes.
573
01:18:36,416 --> 01:18:44,725
I sang to the stars and
the heavens shone more brightly.
574
01:18:49,196 --> 01:19:01,642
In my hour of grief, Lord,
why do You repay me this way?
575
01:19:18,158 --> 01:19:25,499
Why do You repay me this way?
576
01:19:38,745 --> 01:19:40,480
[ Cheers and applause ]
577
01:19:44,351 --> 01:19:47,988
[ Applause continues ]
578
01:19:52,693 --> 01:19:55,529
[ Applause continues ]
579
01:20:00,133 --> 01:20:02,769
[ Applause continues ]
580
01:20:07,007 --> 01:20:09,543
[ Applause continues ]
581
01:20:13,714 --> 01:20:16,550
[ Applause continues ]
582
01:20:21,321 --> 01:20:24,525
[ Applause continues ]
583
01:20:24,591 --> 01:20:27,294
[ Applause fades ]
584
01:20:31,899 --> 01:20:33,534
Decide.
585
01:20:34,768 --> 01:20:39,873
Must I beg?
586
01:20:47,648 --> 01:20:53,253
Look...I hold out my hands to you!
587
01:21:04,665 --> 01:21:12,606
I wait for one word of mercy from you.
Defeated, I wait....
588
01:21:20,747 --> 01:21:29,022
You're too beautiful, Tosca, and too loving to resist.
589
01:21:31,725 --> 01:21:34,862
My price is small.
590
01:21:35,629 --> 01:21:40,667
While you ask for his life,
I ask only for a moment.
591
01:21:41,134 --> 01:21:43,604
Get away! You disgust me!
592
01:21:44,605 --> 01:21:46,173
[ Pounding on door ]
593
01:21:46,240 --> 01:21:48,408
-[ Gasps ]
594
01:21:49,843 --> 01:21:54,448
Angelotti killed himself
before we could take him.
595
01:21:56,450 --> 01:22:00,087
Then hang his dead body
from the gallows!
596
01:22:03,257 --> 01:22:07,227
–And the other one?
–Cavaradossi?
597
01:22:09,429 --> 01:22:12,132
We're ready for him, sir.
598
01:22:12,165 --> 01:22:14,001
God help me!
599
01:22:20,941 --> 01:22:21,975
Wait.
600
01:22:37,758 --> 01:22:40,894
Well?
601
01:22:53,473 --> 01:22:55,876
But I want him freed immediately!
602
01:22:55,943 --> 01:22:59,713
I can't pardon him openly.
603
01:23:01,014 --> 01:23:05,352
We must make it look as if he's dead.
604
01:23:05,385 --> 01:23:07,588
This man will take care of it.
605
01:23:07,621 --> 01:23:09,690
How can I trust you?
606
01:23:10,524 --> 01:23:14,194
I'll give him his orders in your presence.
607
01:23:22,002 --> 01:23:25,606
I've changed my mind.
608
01:23:26,573 --> 01:23:29,843
Have the prisoner shot.
609
01:23:32,045 --> 01:23:35,716
Just as we did with Count Palmieri.
610
01:23:36,517 --> 01:23:41,555
A mock execution.
Just like Palmieri. Understand?
611
01:23:43,757 --> 01:23:46,426
I want to tell Mario myself.
612
01:23:46,493 --> 01:23:49,630
I'll give her a pass.
613
01:23:50,964 --> 01:23:53,767
Remember at dawn....
614
01:23:55,335 --> 01:23:58,672
Yes, just like Palmieri.
615
01:24:11,518 --> 01:24:13,987
I've kept my promise.
616
01:24:14,021 --> 01:24:16,223
Not yet.
617
01:24:18,025 --> 01:24:23,897
I want safe conduct to leave the country with him.
618
01:24:24,364 --> 01:24:28,202
You want to go away?
619
01:24:28,268 --> 01:24:31,104
Yes, forever.
620
01:24:32,339 --> 01:24:34,975
You'll have your wish.
621
01:25:07,941 --> 01:25:09,376
[ Thumps ]
622
01:25:13,447 --> 01:25:15,816
Which route will you take?
623
01:25:15,849 --> 01:25:17,618
The shortest.
624
01:25:20,721 --> 01:25:23,190
Civitavecchia?
625
01:25:23,257 --> 01:25:24,892
Yes.
626
01:26:40,200 --> 01:26:43,370
Tosca, at last you're mine!
627
01:26:48,108 --> 01:26:49,676
That is Tosca's kiss!
628
01:26:56,316 --> 01:27:00,721
Are you choking on your own blood?
629
01:27:02,923 --> 01:27:05,659
–I'm dying!
–Yes, killed by a woman!
630
01:27:05,726 --> 01:27:09,096
–Help me!
–After you've tortured me?
631
01:27:10,297 --> 01:27:14,501
Can you still hear me? Look at me...it's Tosca!
632
01:27:19,072 --> 01:27:23,677
You're choking on the blood
of those you tortured.
633
01:27:24,645 --> 01:27:28,749
Die, and be damned! Die!
634
01:27:35,389 --> 01:27:39,293
-[ Choking, groaning ]
635
01:27:44,565 --> 01:27:46,266
[ Exhales sharply ]
636
01:27:53,006 --> 01:27:56,410
He's dead.
637
01:28:01,381 --> 01:28:05,118
Now I forgive him.
638
01:29:36,677 --> 01:29:44,284
And all Rome trembled before him.
639
01:31:34,428 --> 01:31:36,430
[ Music ends ]
640
01:31:36,597 --> 01:31:38,999
[ Applause ]
641
01:31:47,274 --> 01:31:50,644
[ Applause ]
642
01:31:52,112 --> 01:31:54,515
[ Applause fading ]
643
01:32:14,468 --> 01:32:17,538
-At the end of the previous act,
Tosca has murdered Scarpia
644
01:32:17,604 --> 01:32:21,141
and believes that she has saved
the life of her lover.
645
01:32:21,208 --> 01:32:24,912
But there is more
than one final twist to come
646
01:32:24,978 --> 01:32:27,748
in the plot
of Puccini's eternal tragedy.
647
01:32:27,814 --> 01:32:30,117
Here is the conclusion of
"Tosca."
648
01:32:31,585 --> 01:32:35,923
[ Cheers and applause ]
649
01:32:39,092 --> 01:32:42,296
[ Cheers and applause
intensify ]
650
01:32:44,665 --> 01:32:48,468
[ Cheers and applause continue ]
651
01:32:55,442 --> 01:32:59,446
♪♪
652
01:34:28,168 --> 01:34:31,972
I send you loving sighs.
653
01:34:35,275 --> 01:34:39,646
So many, oh, so many.
654
01:34:43,417 --> 01:34:47,421
As many as there are leaves.
655
01:34:50,858 --> 01:34:55,696
All the leaves that rustle in the wind.
656
01:35:02,402 --> 01:35:07,908
Yet you spurn me and I'm brokenhearted.
657
01:35:07,975 --> 01:35:12,779
Oh, light of my life, I'd die for you.
658
01:35:30,731 --> 01:35:33,934
[ Bell tolling ]
659
01:36:08,468 --> 01:36:10,470
[ Bell tolling ]
660
01:37:54,074 --> 01:37:57,544
[ Tolling continues ]
661
01:39:30,637 --> 01:39:33,240
Mario Cavaradossi....
662
01:39:40,314 --> 01:39:46,820
You have an hour.
A priest is here, if you want him.
663
01:39:48,255 --> 01:39:54,661
No, but I have one last favor to ask.
664
01:39:58,031 --> 01:40:06,406
I leave behind someone very dear to me.
665
01:40:27,528 --> 01:40:32,266
Let me write a short note to her.
666
01:40:38,939 --> 01:40:45,779
This ring is the only possession I have left.
667
01:40:51,185 --> 01:41:00,260
If you promise to give her
my last farewell, it's yours.
668
01:41:11,772 --> 01:41:13,473
Write.
669
01:42:48,001 --> 01:42:52,506
How the stars would shine there!
670
01:42:59,479 --> 01:43:04,384
And how sweet the earth smelled.
671
01:43:04,418 --> 01:43:10,190
The garden gate would creak open.
672
01:43:14,428 --> 01:43:20,334
And I would hear her footsteps on the path.
673
01:43:24,404 --> 01:43:29,076
She'd enter, fragrant as a flower.
674
01:43:38,852 --> 01:43:44,858
And fall into my arms.
675
01:43:52,533 --> 01:43:59,840
Oh, sweet kisses, lingering caresses.
676
01:44:06,013 --> 01:44:13,353
Trembling, I would slowly
uncover her dazzling beauty.
677
01:44:31,171 --> 01:44:37,044
Now my dream of love has vanished forever.
678
01:44:39,813 --> 01:44:45,385
My last hour has flown...
679
01:44:45,786 --> 01:44:49,623
...and I die in despair!
680
01:45:04,538 --> 01:45:14,982
Never have I loved life more!
681
01:45:31,031 --> 01:45:34,234
[ Cheers and applause ]
682
01:45:38,839 --> 01:45:42,309
[ Cheers and applause continue ]
683
01:45:46,713 --> 01:45:49,716
[ Cheers and applause continue ]
684
01:45:54,254 --> 01:45:57,758
[ Cheers and applause continue ]
685
01:46:02,196 --> 01:46:04,998
[ Cheers and applause fade ]
686
01:46:48,542 --> 01:46:54,815
"Safe conduct for Floria Tosca
and the gentleman accompanying her."
687
01:46:54,882 --> 01:46:57,217
You're free!
688
01:46:57,284 --> 01:47:00,454
-♪ Scarpia ♪
689
01:47:00,954 --> 01:47:05,025
Scarpia, granting a pardon?
690
01:47:06,760 --> 01:47:09,897
It would be his first merciful act.
691
01:47:09,963 --> 01:47:11,698
And his last!
692
01:47:13,333 --> 01:47:21,408
He demanded your life, or my love.
My pleas were useless.
693
01:47:22,976 --> 01:47:30,651
In terror, I turned to the Virgin and the saints.
694
01:47:34,188 --> 01:47:42,062
The monster said,
"The scaffold has already raised its arms to heaven!"
695
01:47:43,263 --> 01:47:48,869
The drums were rolling,
and the monster was laughing!
696
01:47:48,902 --> 01:47:51,538
He was ready to seize his victim.
697
01:47:54,341 --> 01:47:56,643
"Will you be mine?"
698
01:47:58,045 --> 01:48:03,317
I promised him I would yield to his lust.
699
01:48:05,919 --> 01:48:09,456
Nearby, a knife blade glinted.
700
01:48:12,025 --> 01:48:17,397
He wrote the letter of safe conduct.
701
01:48:21,268 --> 01:48:25,272
Then he approached for that horrible embrace.
702
01:48:27,341 --> 01:48:33,580
And I plunged the blade into his heart!
703
01:48:38,552 --> 01:48:43,290
You killed him with your own hands?
704
01:48:43,957 --> 01:48:50,230
You, so devout, so gentle?
705
01:48:51,798 --> 01:48:57,204
My hands were soaked with his blood.
706
01:49:09,116 --> 01:49:20,160
Sweet hands, so gentle and pure,
made for pious deeds...
707
01:49:25,032 --> 01:49:34,308
...meant to caress children,
and to gather roses...
708
01:49:36,476 --> 01:49:45,118
...to clasp in prayer against misfortune.
709
01:49:51,658 --> 01:49:57,097
Yet love made you strong.
710
01:49:57,130 --> 01:50:03,670
And you wielded the sacred weapons of justice.
711
01:50:10,377 --> 01:50:17,084
You killed! Oh, victorious hands!
712
01:50:31,265 --> 01:50:38,005
Sweet hands, so gentle and innocent.
713
01:50:54,454 --> 01:50:57,024
Listen, there's not much time.
714
01:50:57,090 --> 01:51:03,363
I've gathered my gold and jewels,
and a carriage is waiting.
715
01:51:03,397 --> 01:51:09,837
But first there's to be a firing squad with empty guns.
716
01:51:11,672 --> 01:51:15,609
A fake execution.
717
01:51:19,680 --> 01:51:26,186
When they shoot, fall down.
Then the soldiers will leave.
718
01:51:27,554 --> 01:51:32,559
And we'll be saved!
719
01:51:40,501 --> 01:51:48,108
We'll board a ship and escape by sea.
720
01:51:53,981 --> 01:51:55,516
Free....
721
01:51:55,582 --> 01:51:59,887
–Free!
–Away by sea!
722
01:52:01,688 --> 01:52:04,291
All grief is ended now.
723
01:52:08,896 --> 01:52:14,268
Can't you smell the scent of the roses?
724
01:52:15,502 --> 01:52:24,678
It's as though the whole world were in love,
and waiting for sunrise.
725
01:52:33,220 --> 01:52:42,796
Facing death was a torment
only because of my love for you.
726
01:52:42,863 --> 01:52:53,173
You give life its splendor, its joy and desire.
727
01:53:00,280 --> 01:53:08,222
I see the very heavens blaze
and darken in your eyes.
728
01:53:08,288 --> 01:53:19,099
You give every beautiful thing a voice and a color.
729
01:53:24,505 --> 01:53:29,643
My love saved your life.
730
01:53:30,677 --> 01:53:34,982
Now, that love shall be our guide.
731
01:53:40,287 --> 01:53:47,528
It will make the world seem beautiful again.
732
01:53:51,131 --> 01:54:00,674
Together, we'll travel across the globe...
733
01:54:07,814 --> 01:54:17,257
...and disappear into the sunset,
like floating clouds.
734
01:54:40,747 --> 01:54:48,355
Now remember, the moment they shoot,
you must fall at once.
735
01:54:49,489 --> 01:54:55,095
I'll fall right away, just as you said.
736
01:54:56,330 --> 01:54:59,266
Just be careful.
737
01:55:00,667 --> 01:55:06,840
As an actress, I'd know how to do it.
738
01:55:09,476 --> 01:55:14,214
Speak to me as you did before.
739
01:55:16,583 --> 01:55:22,656
The sound of your voice is so sweet.
740
01:55:25,792 --> 01:55:32,165
Our love will soar above the world
like a dazzling rainbow.
741
01:55:44,811 --> 01:55:54,188
Triumphant, our souls will blaze with new hope.
742
01:55:57,858 --> 01:56:04,531
We'll take to the heavens in harmonious flight.
743
01:56:05,666 --> 01:56:14,675
Our souls will soar in the ecstasy of love.
744
01:56:19,680 --> 01:56:25,619
I'll close your eyes with a thousand kisses.
745
01:56:27,521 --> 01:56:36,430
And I'll call you by a thousand loving names.
746
01:56:39,766 --> 01:56:42,269
[ Bell tolling ]
747
01:56:45,205 --> 01:56:46,573
It's time.
748
01:56:48,075 --> 01:56:49,943
I'm ready.
749
01:56:50,477 --> 01:56:54,047
Remember, fall down at the first shot.
750
01:56:58,819 --> 01:57:02,656
Don't get up until I call you.
751
01:57:04,324 --> 01:57:06,994
And fall properly.
752
01:57:07,361 --> 01:57:09,596
Like Tosca onstage!
753
01:57:09,663 --> 01:57:11,932
–Don't laugh!
–Like this?
754
01:57:42,996 --> 01:57:45,766
What a long wait!
755
01:57:46,400 --> 01:57:49,770
What's keeping them?
756
01:57:53,807 --> 01:57:56,810
It's almost dawn.
757
01:57:59,346 --> 01:58:02,983
Why are they still delaying?
758
01:58:05,619 --> 01:58:10,057
It's a farce. I know that.
759
01:58:10,958 --> 01:58:15,863
Yet this agony seems endless.
760
01:58:22,002 --> 01:58:24,304
They're ready now.
761
01:58:36,717 --> 01:58:38,685
How handsome my Mario is!
762
01:58:39,987 --> 01:58:44,525
Now, fall! What an actor!
763
01:59:04,645 --> 01:59:07,414
Mario, don't move.
764
01:59:09,016 --> 01:59:11,985
They're still leaving. Keep still.
765
01:59:21,195 --> 01:59:24,131
Don't move yet.
766
01:59:44,852 --> 01:59:48,121
Quick, get up, Mario.
767
01:59:48,922 --> 01:59:50,691
♪ Mario! Mario! ♪
768
01:59:51,758 --> 01:59:58,699
Dead! Dead! How could it end like this?
769
02:00:01,602 --> 02:00:04,071
[ Men shout in distance ]
770
02:00:04,137 --> 02:00:08,809
♪ Mario! Mario! ♪
771
02:00:21,188 --> 02:00:24,725
Tosca, you'll pay for Scarpia's life!
772
02:00:25,225 --> 02:00:26,660
With my own!
773
02:00:31,965 --> 02:00:37,871
Scarpia! We will meet before God!
774
02:01:11,839 --> 02:01:14,007
[ Music ends ]
775
02:01:14,074 --> 02:01:16,677
[ Cheers and applause ]
776
02:01:19,713 --> 02:01:21,815
[ Applause continues ]
777
02:01:25,819 --> 02:01:28,121
[ Applause continues ]
778
02:01:31,959 --> 02:01:34,261
[ Applause continues ]
779
02:01:38,265 --> 02:01:40,667
[ Applause continues ]
780
02:01:45,072 --> 02:01:47,174
[ Applause continues ]
781
02:01:48,775 --> 02:01:51,879
[ Applause continues ]
782
02:01:53,780 --> 02:01:56,617
[ Cheers and applause ]
783
02:01:59,019 --> 02:02:01,255
[ Applause continues ]
784
02:02:02,356 --> 02:02:04,558
[ Applause continues ]
785
02:02:08,762 --> 02:02:11,198
[ Applause continues ]
786
02:02:15,769 --> 02:02:18,172
[ Applause continues ]
787
02:02:22,509 --> 02:02:24,211
[ Applause continues ]
788
02:02:24,278 --> 02:02:27,080
[ Cheers and applause ]
789
02:02:30,851 --> 02:02:33,153
[ Applause continues ]
790
02:02:36,657 --> 02:02:39,493
[ Cheers and applause ]
791
02:02:43,630 --> 02:02:46,800
[ Applause continues ]
792
02:02:46,867 --> 02:02:49,102
[ Cheers and applause ]
793
02:02:53,340 --> 02:02:55,442
[ Cheers and applause continue ]
794
02:02:59,713 --> 02:03:01,748
[ Cheers and applause continue ]
795
02:03:06,119 --> 02:03:08,322
[ Cheers and applause continue ]
796
02:03:12,326 --> 02:03:14,328
[ Applause continues ]
797
02:03:18,232 --> 02:03:21,134
[ Cheers and applause ]
798
02:03:24,905 --> 02:03:28,475
[ Cheers and applause continue ]
799
02:03:33,013 --> 02:03:35,549
[ Cheers and applause continue ]
800
02:03:39,620 --> 02:03:41,555
[ Cheers and applause continue ]
801
02:03:45,959 --> 02:03:48,095
[ Cheers and applause continue ]
802
02:03:51,798 --> 02:03:54,234
[ Cheers and applause continue ]
803
02:03:57,538 --> 02:04:01,375
[ Cheers and applause ]
804
02:04:01,441 --> 02:04:03,977
[ Cheers and applause continue ]
805
02:04:08,115 --> 02:04:10,551
[ Cheers and applause continue ]
806
02:04:15,088 --> 02:04:18,158
[ Cheers and applause continue ]
807
02:04:22,829 --> 02:04:25,265
[ Cheers and applause continue ]
808
02:04:29,369 --> 02:04:30,904
[ Applause continues ]
809
02:04:30,971 --> 02:04:34,474
[ Cheers and applause ]
810
02:04:38,478 --> 02:04:40,581
[ Cheers and applause continue ]
811
02:04:44,418 --> 02:04:45,819
[ Applause continues ]
812
02:04:47,087 --> 02:04:49,289
[ Cheers and applause ]
813
02:04:53,227 --> 02:04:55,062
[ Cheers and applause ]
814
02:04:59,032 --> 02:05:00,634
[ Applause continues ]
815
02:05:05,105 --> 02:05:07,841
[ Cheers and applause ]
816
02:05:11,879 --> 02:05:14,681
[ Cheers and applause continue ]
817
02:05:18,719 --> 02:05:22,422
[ Cheers and applause continue ]
818
02:05:26,593 --> 02:05:28,862
[ Cheers and applause continue ]
819
02:05:33,300 --> 02:05:36,036
[ Cheers and applause continue ]
820
02:05:40,607 --> 02:05:42,976
[ Cheers and applause continue ]
821
02:05:47,614 --> 02:05:52,052
[ Cheers and applause continue ]
822
02:05:52,119 --> 02:05:53,754
[ Indistinct conversations ]
823
02:05:53,820 --> 02:05:55,856
[ Cheers and applause continue ]
824
02:06:00,494 --> 02:06:02,629
-[ Laughs ]
-Thank you.
825
02:06:10,037 --> 02:06:12,706
-Now I'm joined
by Floria Tosca herself,
826
02:06:12,773 --> 02:06:14,808
soprano Sonya Yoncheva,
827
02:06:14,875 --> 02:06:17,778
who is singing Tosca for the
very first time in her career.
828
02:06:17,845 --> 02:06:18,979
Hello, Sonya.
829
02:06:19,046 --> 02:06:20,914
-Hi, Isabel. Nice to see you.
-Hi. You, too.
830
02:06:20,981 --> 02:06:23,383
Sonya, even though
you jumped into this production
831
02:06:23,450 --> 02:06:24,852
on pretty short notice,
832
02:06:24,918 --> 02:06:27,554
I know you've wanted to sing
this role for a very long time.
833
02:06:27,621 --> 02:06:31,124
-Mm-hmm.
-What draws you to Tosca?
834
02:06:31,191 --> 02:06:34,361
-I am fascinated by the music,
by -- by this woman.
835
02:06:34,428 --> 02:06:36,263
And I always thought that
836
02:06:36,330 --> 02:06:39,166
she's young, she's bold,
she's passionate.
837
02:06:39,233 --> 02:06:42,336
She loves Cavaradossi --
that's why she's so jealous.
838
02:06:42,402 --> 02:06:45,873
And -- And she's somehow
defending her love to the end.
839
02:06:45,939 --> 02:06:47,741
That's why I wanted to do it.
-That's great.
840
02:06:47,808 --> 02:06:50,377
How long, just out of curiosity,
did you start studying the role?
841
02:06:50,444 --> 02:06:52,346
-Well, I should say, I --
842
02:06:52,412 --> 02:06:53,981
I was already working on it
since long time,
843
02:06:54,047 --> 02:06:55,115
because...
-Yeah.
844
02:06:55,182 --> 02:06:56,517
-...I --
I was always interested in.
845
02:06:56,583 --> 02:06:59,720
And, uh, of course when I got
the proposal from the Met,
846
02:06:59,786 --> 02:07:01,355
I concentrated all my forces.
847
02:07:01,421 --> 02:07:03,123
[ Both laugh ]
-Yep, as we do.
848
02:07:03,190 --> 02:07:05,425
-So, yeah, yeah, as we do...
-Absolutely, yeah.
849
02:07:05,492 --> 02:07:06,960
-...with the time we have --
you know how it is.
850
02:07:07,027 --> 02:07:08,562
[ Laughs ]
-Of course, of course.
851
02:07:08,629 --> 02:07:09,963
-But, yeah.
852
02:07:10,030 --> 02:07:12,466
-Tosca has been sung by
some of opera's greatest divas,
853
02:07:12,533 --> 02:07:14,801
from Callas to Caballé,
854
02:07:14,868 --> 02:07:16,170
and interpreted
in many different ways.
855
02:07:16,236 --> 02:07:17,371
-Mm.
856
02:07:17,437 --> 02:07:20,140
-Now, what is the essence
for you in this role?
857
02:07:20,207 --> 02:07:24,678
-The essence is that I am
bringing, um, all the --
858
02:07:24,745 --> 02:07:27,581
how to say -- the musical --
859
02:07:27,648 --> 02:07:30,350
the musical experience
to our generation today.
860
02:07:30,417 --> 02:07:33,620
So I have huge responsibility
to say a new word
861
02:07:33,687 --> 02:07:35,889
in this, uh, in this part,
if I can.
862
02:07:35,956 --> 02:07:37,324
-That's wonderful.
That's really wonderful.
863
02:07:37,391 --> 02:07:38,592
-Thank you.
-Yeah.
864
02:07:38,659 --> 02:07:41,161
Now, do you feel like the ghosts
of these legendary divas
865
02:07:41,228 --> 02:07:42,296
are helping you along the way?
866
02:07:42,362 --> 02:07:43,897
-Yes. And I love them.
-Yeah?
867
02:07:43,964 --> 02:07:45,399
[ Both laugh ]
-It's nice.
868
02:07:45,465 --> 02:07:46,700
It's a good feeling.
-Yeah, yeah.
869
02:07:46,767 --> 02:07:47,901
-Now, I'd like to you
to talk a little bit
870
02:07:47,968 --> 02:07:49,102
about Tosca's character.
871
02:07:49,169 --> 02:07:50,938
So, what aspects
of her personality
872
02:07:51,004 --> 02:07:53,207
did you and the director,
David McVicar,
873
02:07:53,273 --> 02:07:54,508
want to bring out?
874
02:07:54,575 --> 02:07:57,778
-We really were concentrated
875
02:07:57,845 --> 02:08:01,481
on bringing Tosca as a --
as a very young person.
876
02:08:01,548 --> 02:08:03,083
This was our motto.
877
02:08:03,150 --> 02:08:05,385
We wanted to have Tosca young...
-Mm-hmm.
878
02:08:05,452 --> 02:08:08,388
-...and bold,
and, uh, and passionate,
879
02:08:08,455 --> 02:08:10,791
and you know, always defending
her -- her word...
880
02:08:10,858 --> 02:08:13,560
-Yeah.
-...and, uh, just not be like --
881
02:08:13,627 --> 02:08:16,296
We usually see Tosca very
arrogant, or selfish...
882
02:08:16,363 --> 02:08:17,598
-Uh-huh.
-...or narcissistic
883
02:08:17,664 --> 02:08:18,999
or whatever
we can say about her.
884
02:08:19,066 --> 02:08:20,901
-Yeah.
-And I didn't agree with this,
885
02:08:20,968 --> 02:08:23,303
and I was really happy
that David and me,
886
02:08:23,370 --> 02:08:24,605
we were on the same wave.
[ Chuckles ]
887
02:08:24,671 --> 02:08:26,440
-Yeah, that's the best.
-Yeah, that's the best.
888
02:08:26,507 --> 02:08:29,042
-The best when that happens.
-It makes things easier.
889
02:08:29,109 --> 02:08:30,477
[ Both laugh ]
-Yeah.
890
02:08:30,544 --> 02:08:32,312
Now, I know
you also seem to make a habit
891
02:08:32,379 --> 02:08:34,715
of debuting some of the most
important soprano roles
892
02:08:34,781 --> 02:08:36,183
on the daunting stage
of the Met.
893
02:08:36,250 --> 02:08:37,484
-Mm-hmm.
894
02:08:37,551 --> 02:08:40,654
-Here is your debut
as Mimi in "La Bohème,"
895
02:08:40,721 --> 02:08:43,724
and your debut
as Desdemona in "Otello."
896
02:08:43,790 --> 02:08:45,993
-Yes.
-You are very brave.
897
02:08:46,059 --> 02:08:48,295
[ Both laugh ]
How do you do it?
898
02:08:48,362 --> 02:08:51,431
-Well, I don't
think too much about it.
899
02:08:51,498 --> 02:08:53,433
I -- What --
What I have in my mind
900
02:08:53,500 --> 02:08:56,069
is that I love the Met,
I love the audience.
901
02:08:56,136 --> 02:08:57,504
This stage is amazing.
902
02:08:57,571 --> 02:09:02,376
The hall has the most perfect
acoustic, for me, for opera.
903
02:09:02,442 --> 02:09:04,745
And, um --
And I pretty much enjoy it.
904
02:09:04,811 --> 02:09:06,246
I like the team around me.
905
02:09:06,313 --> 02:09:07,948
We're working so well together,
906
02:09:08,015 --> 02:09:11,685
and, uh, it's so fun,
and serious and concentrated --
907
02:09:11,752 --> 02:09:13,053
-It's a family.
-It's family, yeah.
908
02:09:13,120 --> 02:09:14,421
-Yeah.
-That's why I like to be here.
909
02:09:14,488 --> 02:09:16,390
-Yeah. You have
a really intense act coming up.
910
02:09:16,456 --> 02:09:17,491
-Mm-hmm.
911
02:09:17,558 --> 02:09:18,692
-Your confrontation
with Scarpia.
912
02:09:18,759 --> 02:09:20,027
-Mm-hmm.
-Can you quickly tell me
913
02:09:20,093 --> 02:09:22,996
how you balance the vocal
and dramatic demands?
914
02:09:23,063 --> 02:09:24,765
-Well, in the beginning,
I was thinking a lot.
915
02:09:24,831 --> 02:09:25,866
Now I don't think anymore --
916
02:09:25,933 --> 02:09:27,968
I just throw myself in,
and that's it.
917
02:09:28,035 --> 02:09:29,303
-That's fabulous.
-Yeah. [ Laughs ]
918
02:09:29,369 --> 02:09:31,238
-Now, it goes without saying
that you look stunning.
919
02:09:31,305 --> 02:09:32,573
-Thank you.
920
02:09:32,639 --> 02:09:34,508
-So, in bocca al lupo,
good luck. for your next act.
921
02:09:34,575 --> 02:09:36,343
-Crepi il lupo.
Thank you.
922
02:09:37,644 --> 02:09:43,350
[ Indistinct conversations ]
923
02:09:44,651 --> 02:09:46,353
-We're with
tenor Vittorio Grigolo,
924
02:09:46,420 --> 02:09:48,021
our irrepressible Cavaradossi.
925
02:09:48,088 --> 02:09:49,223
Hi, Vittorio.
926
02:09:49,289 --> 02:09:50,858
-Hi. Hi, Isabel.
-Hi. Hi.
927
02:09:50,924 --> 02:09:53,327
Vittorio, it is hard to believe
928
02:09:53,393 --> 02:09:56,129
that this is your first time
singing Cavaradossi.
929
02:09:56,196 --> 02:09:57,598
I mean,
you're obviously relishing...
930
02:09:57,664 --> 02:10:00,000
-It was the first time when we
sang "Werther" together, so...
931
02:10:00,067 --> 02:10:01,535
-Ah.
-And I was covered in blood.
932
02:10:01,602 --> 02:10:02,736
-[ Laughs ]
-So it looks like
933
02:10:02,803 --> 02:10:04,571
we have always to speak
when I am full of blood,
934
02:10:04,638 --> 02:10:06,273
and that's going to be --
-I'm in the wrong costume, then.
935
02:10:06,340 --> 02:10:09,676
-Yes, you are, but you're never
in the wrong costume, so...
936
02:10:09,743 --> 02:10:12,179
-What makes this such a good fit
for you, artistically?
937
02:10:12,246 --> 02:10:14,548
-I -- Listen, uh, this is, uh,
938
02:10:14,615 --> 02:10:18,685
this is something I was waiting
since a lot, lot, lot of time.
939
02:10:18,752 --> 02:10:22,022
I mean, uh, Mario Cavaradossi --
it was a dream role.
940
02:10:22,089 --> 02:10:24,958
I was -- I was a little shepherd
of 13 years old,
941
02:10:25,025 --> 02:10:27,661
and, uh, Luciano was waiting
for me at the end of this role,
942
02:10:27,728 --> 02:10:28,729
saying, oh...
-Luciano Pavarotti...
943
02:10:28,795 --> 02:10:29,930
-Yes, waiting.
-...was your Cavaradossi.
944
02:10:29,997 --> 02:10:31,298
-Yes, at that time --
-When you were 13?
945
02:10:31,365 --> 02:10:33,500
-Yes, so I waiting there,
and he was saying,
946
02:10:33,567 --> 02:10:35,469
"Bravo, bravo! One day,
you're going to sing the aria."
947
02:10:35,536 --> 02:10:38,572
Now, 27 years later,
I'm here next to you,
948
02:10:38,639 --> 02:10:42,075
and really soon, we're going to
sing this beautiful piece.
949
02:10:42,142 --> 02:10:44,311
And, actually, I would like
to say to everybody --
950
02:10:44,378 --> 02:10:48,715
it's an inspiration, because we
don't have to forget the senses.
951
02:10:48,782 --> 02:10:50,284
We are
so technologically advanced...
952
02:10:50,350 --> 02:10:51,351
-Mm-hmm.
953
02:10:51,418 --> 02:10:54,121
-...but this aria
talks through the senses.
954
02:10:54,188 --> 02:10:55,989
So he's really thinking about
everything he's going to lose.
955
02:10:56,056 --> 02:10:57,124
-What does that mean?
956
02:10:57,191 --> 02:10:58,792
-All the senses
he's going to lose.
957
02:10:58,859 --> 02:11:00,661
-Yeah.
-So the life, you know,
958
02:11:00,727 --> 02:11:03,163
so the smell,
the -- the -- the view...
959
02:11:03,230 --> 02:11:05,165
-Uh-huh.
-...uh, the, the hearing --
960
02:11:05,232 --> 02:11:06,266
everything he's going to lose,
961
02:11:06,333 --> 02:11:07,734
and everything
is related to her.
962
02:11:07,801 --> 02:11:09,536
-Mm.
-So, it's so, so big,
963
02:11:09,603 --> 02:11:12,039
and, sometimes, love can be,
you know, very fast,
964
02:11:12,105 --> 02:11:13,340
uh, but, uh...
965
02:11:13,407 --> 02:11:15,008
-She's a lucky woman.
-Yeah, she's a lucky woman.
966
02:11:15,075 --> 02:11:18,178
But like Einstein said,
the relativity of time --
967
02:11:18,245 --> 02:11:20,214
everything
is relativity of time.
968
02:11:20,280 --> 02:11:22,115
Can be one hour,
but it could be like, uh --
969
02:11:22,182 --> 02:11:24,952
that hour could be the most
amazing hour of your life.
970
02:11:25,018 --> 02:11:26,320
-So, you have to tell me more
about Cavaradossi.
971
02:11:26,386 --> 02:11:28,222
-Yes. Cavaradossi.
-What is the key for you?
972
02:11:28,288 --> 02:11:30,224
-I mean, the key is, uh,
to think
973
02:11:30,290 --> 02:11:32,059
there is a younger --
younger...
974
02:11:32,125 --> 02:11:34,361
For the first time, actually,
975
02:11:34,428 --> 02:11:37,030
David, uh, did --
did a great thing,
976
02:11:37,097 --> 02:11:39,066
because he wanted to see --
I wanted to see Cavaradossi.
977
02:11:39,132 --> 02:11:41,702
I wanted to see him young,
alive, passionate,
978
02:11:41,768 --> 02:11:42,903
politically involved.
979
02:11:42,970 --> 02:11:44,671
So when he sees the other guy,
he said,
980
02:11:44,738 --> 02:11:47,107
"Yes, I'm going to help you.
It will cost my life,
981
02:11:47,174 --> 02:11:48,876
but I would give you
all my energy, all my life,
982
02:11:48,942 --> 02:11:50,410
but I'll save your ass."
-Yeah. [ Laughs ]
983
02:11:50,477 --> 02:11:52,646
-You know, like, "I'm -- I'm
going to make it a statement."
984
02:11:52,713 --> 02:11:53,847
[ Laughs ]
-So, I mean,
985
02:11:53,914 --> 02:11:55,148
that was something incredible.
-That's right.
986
02:11:55,215 --> 02:11:58,619
-And, I mean, Mario Cavaradossi
means also Rome --
987
02:11:58,685 --> 02:12:00,120
it means also a lot of my...
-Mm-hmm.
988
02:12:00,187 --> 02:12:02,155
-When I was a kid,
I lived, uh --
989
02:12:02,222 --> 02:12:05,292
I lived maybe 15, 17 years
in Rome,
990
02:12:05,359 --> 02:12:06,827
and I was passing with
the school there every day...
991
02:12:06,894 --> 02:12:08,128
-Yeah.
992
02:12:08,195 --> 02:12:09,496
-...looking
at Castel Sant'Angelo for real,
993
02:12:09,563 --> 02:12:10,564
so now I'm...
994
02:12:10,631 --> 02:12:11,632
-So you're home.
-I am home.
995
02:12:11,698 --> 02:12:12,866
-You're home
in so many ways here.
996
02:12:12,933 --> 02:12:14,434
-I am home, and I am home
here at the Met.
997
02:12:14,501 --> 02:12:15,802
-Oh, yes.
-I mean, they are --
998
02:12:15,869 --> 02:12:17,437
they are giving me
a lot of, uh --
999
02:12:17,504 --> 02:12:18,805
they open me those doors,
1000
02:12:18,872 --> 02:12:20,474
and, uh, here has been, uh,
has been a wonderful time.
1001
02:12:20,541 --> 02:12:22,910
-Sonya said the same thing,
that this felt like a family.
1002
02:12:22,976 --> 02:12:24,211
Can you tell me a little bit
1003
02:12:24,278 --> 02:12:26,246
how you and Sonya developed
such a good rapport?
1004
02:12:26,313 --> 02:12:28,982
-But with Sonya, we had
a great, great, great adventure.
1005
02:12:29,049 --> 02:12:31,985
It begins, long,
many, many years ago,
1006
02:12:32,052 --> 02:12:33,720
when, I asked her,
1007
02:12:33,787 --> 02:12:36,423
and, uh, for she was,
uh, younger than me,
1008
02:12:36,490 --> 02:12:37,624
and I ask her, "You --
1009
02:12:37,691 --> 02:12:39,193
Would you like to join me
on a tour in Germany?"
1010
02:12:39,259 --> 02:12:41,862
We start the tour in Germany.
She was singing few arias.
1011
02:12:41,929 --> 02:12:45,532
And then I invited her
to have a duet with me,
1012
02:12:45,599 --> 02:12:47,501
a romantic hero album,
1013
02:12:47,568 --> 02:12:49,837
and then she flew away,
like, uh, diva-style.
1014
02:12:49,903 --> 02:12:50,971
So now she's here.
1015
02:12:51,038 --> 02:12:52,039
-That's amazing.
-She's here, and --
1016
02:12:52,105 --> 02:12:53,240
-Listen. You have
so much more work to do!
1017
02:12:53,307 --> 02:12:54,741
-No, no, it's okay.
-So thank you so much.
1018
02:12:54,808 --> 02:12:56,143
-It's just, uh, "Tosca" --
1019
02:12:56,210 --> 02:12:57,811
you know,
just a very simple part,
1020
02:12:57,878 --> 02:12:58,846
so don't worry about it.
1021
02:12:58,912 --> 02:13:00,013
-Thank you.
-We can talk.
1022
02:13:00,080 --> 02:13:01,081
-Thank you so much.
Vittorio, thank you.
1023
02:13:01,148 --> 02:13:02,115
-I love you.
1024
02:13:02,182 --> 02:13:03,183
-Ciao.
-Bye.
1025
02:13:04,651 --> 02:13:08,856
-I'm joined now by our Scarpia,
baritone Zeljko Lucic.
1026
02:13:08,922 --> 02:13:12,292
Bravo.
-Thank you. Thank you.
1027
02:13:12,359 --> 02:13:13,660
Hello.
-I have a question.
1028
02:13:13,727 --> 02:13:14,862
Now, unlike your two co-stars,
1029
02:13:14,928 --> 02:13:16,997
who are brand-new
to their roles,
1030
02:13:17,064 --> 02:13:18,532
you have sung Scarpia
many items.
1031
02:13:18,599 --> 02:13:19,900
-Yes.
-Yeah.
1032
02:13:19,967 --> 02:13:23,437
So, how has this new production
shaped your portrayal?
1033
02:13:23,504 --> 02:13:24,872
Has it changed it in any way?
1034
02:13:24,938 --> 02:13:26,473
-Uh, actually, yes.
1035
02:13:26,540 --> 02:13:27,808
-Huh.
-Actually, yes.
1036
02:13:27,875 --> 02:13:30,777
Uh, uh, this is
the brand-new Scarpia...
1037
02:13:30,844 --> 02:13:31,845
-Uh-huh.
1038
02:13:31,912 --> 02:13:33,413
-...as I would say,
as I could say.
1039
02:13:33,480 --> 02:13:37,951
Uh, I mean, uh, you know,
this set, this production,
1040
02:13:38,018 --> 02:13:39,119
the costumes and everything...
-Mm-hmm.
1041
02:13:39,186 --> 02:13:41,455
-...it's -- uh, let's say
the grand opera is back.
1042
02:13:41,522 --> 02:13:44,791
-Right.
-We go back to '50s and '60s,
1043
02:13:44,858 --> 02:13:46,627
where the, you know,
golden age of the opera,
1044
02:13:46,693 --> 02:13:48,629
and now this is
really something fantastic.
1045
02:13:48,695 --> 02:13:50,864
-Mm-hmm.
-And as I said, uh,
1046
02:13:50,931 --> 02:13:52,599
I was enjoying
from the very beginning.
1047
02:13:52,666 --> 02:13:55,936
And, uh, this is, uh,
1048
02:13:56,003 --> 02:13:59,506
the best "Tosca" I ever --
uh, I ever did, really,
1049
02:13:59,573 --> 02:14:00,974
because, I mean, really...
1050
02:14:01,041 --> 02:14:01,975
-That's quite something.
-...you're there,
1051
02:14:02,042 --> 02:14:04,011
because it's all original.
-Yeah.
1052
02:14:04,077 --> 02:14:06,013
-You really have
not to improvise anything
1053
02:14:06,079 --> 02:14:10,083
or to do some stupid things,
and, uh, this is -- this is it.
1054
02:14:10,150 --> 02:14:11,451
-That's great.
1055
02:14:11,518 --> 02:14:13,353
Now, in the next act,
we will see
1056
02:14:13,420 --> 02:14:16,490
one of the most famous
confrontations in all of opera
1057
02:14:16,557 --> 02:14:18,725
between Scarpia and Tosca...
-Right.
1058
02:14:18,792 --> 02:14:20,294
-...where they face off.
1059
02:14:20,360 --> 02:14:23,697
Tell me, what is -- what is it
like working with Sonya?
1060
02:14:23,764 --> 02:14:24,898
-Oh, fantastic.
-Yeah.
1061
02:14:24,965 --> 02:14:26,166
-Oh, really. Oh, man.
1062
02:14:26,233 --> 02:14:28,235
Uh, well,
from the very beginning on,
1063
02:14:28,302 --> 02:14:30,003
as I said, really,
it was a great pleasure.
1064
02:14:30,070 --> 02:14:34,842
So when we step on the stage and
all that, it was even bigger.
1065
02:14:34,908 --> 02:14:37,711
And, you know, working
with Vittorio and with Sonya --
1066
02:14:37,778 --> 02:14:38,712
it's, uh, it's, you know,
1067
02:14:38,779 --> 02:14:40,747
it's pleasure and honor,
of course.
1068
02:14:40,814 --> 02:14:42,583
I know that this is
the first time for them to sing,
1069
02:14:42,649 --> 02:14:43,851
but they --
they did a great job.
1070
02:14:43,917 --> 02:14:45,219
-Yeah.
-Very great, great job, great.
1071
02:14:45,285 --> 02:14:46,620
-They're fabulous.
1072
02:14:46,687 --> 02:14:48,989
Um, now, last one --
as a renowned singer
1073
02:14:49,056 --> 02:14:52,059
of some of Verdi's
greatest baritone roles,
1074
02:14:52,125 --> 02:14:57,030
what are the different vocal
demands of singing Puccini?
1075
02:14:57,097 --> 02:14:58,565
-Well, I have to be honest,.
1076
02:14:58,632 --> 02:15:00,100
Uh, I really have --
1077
02:15:00,167 --> 02:15:01,435
I don't make any --
any difference.
1078
02:15:01,502 --> 02:15:02,469
-That's great.
1079
02:15:02,536 --> 02:15:03,504
-Yeah,
I really don't make any --
1080
02:15:03,570 --> 02:15:05,138
I sing, as I sing everything,
1081
02:15:05,205 --> 02:15:07,908
you know,
so, uh, nothing changed.
1082
02:15:07,975 --> 02:15:09,109
-That's fabulous.
1083
02:15:09,176 --> 02:15:10,577
I think that's great.
-Thank you.
1084
02:15:10,644 --> 02:15:12,246
-Listen, Zeljko, thank you
so much for speaking to me.
1085
02:15:12,312 --> 02:15:13,480
-You're very welcome.
Thank you.
1086
02:15:13,547 --> 02:15:14,581
It was my pleasure. Thanks.
1087
02:15:25,559 --> 02:15:27,427
-To conceive
the set and costume designs
1088
02:15:27,494 --> 02:15:29,296
for the new "Tosca" production,
1089
02:15:29,363 --> 02:15:32,966
John Macfarlane visited Rome
for some on-site research.
1090
02:15:33,033 --> 02:15:36,303
His expressive Roman sketches
were featured in an exhibition
1091
02:15:36,370 --> 02:15:38,672
in the Met's
in-house gallery space.
1092
02:15:38,739 --> 02:15:40,140
I recently visited the gallery
1093
02:15:40,207 --> 02:15:42,376
and spoke
with the distinguished designer.
1094
02:15:43,677 --> 02:15:45,846
-It's so wonderful
to be here in Gallery Met,
1095
02:15:45,913 --> 02:15:48,015
surrounded by
all of your amazing drawings
1096
02:15:48,081 --> 02:15:49,917
for this new production
of "Tosca."
1097
02:15:49,983 --> 02:15:51,318
-Thank you, Isabel.
1098
02:15:51,385 --> 02:15:53,554
It's lovely for me to be here,
as well, with you.
1099
02:15:53,620 --> 02:15:55,556
-So, we know
that Puccini's score
1100
02:15:55,622 --> 02:15:58,458
specified
three real Roman locations...
1101
02:15:58,525 --> 02:15:59,593
-Yeah, true.
1102
02:15:59,660 --> 02:16:00,727
...as the settings
for each of these acts --
1103
02:16:00,794 --> 02:16:03,397
The Church
of Sant'Andrea della Valle,
1104
02:16:03,463 --> 02:16:05,699
the Palazzo Farnese,
1105
02:16:05,766 --> 02:16:08,635
and the Castel Sant'Angelo.
1106
02:16:08,702 --> 02:16:12,406
How closely do your set designs
resemble these places?
1107
02:16:12,472 --> 02:16:16,743
-So, yes, it's as close
to site-specific as I can get.
1108
02:16:16,810 --> 02:16:19,213
But, obviously, when you've --
1109
02:16:19,279 --> 02:16:21,748
you're viewing it
through the proscenium...
1110
02:16:21,815 --> 02:16:23,050
-Mm-hmm.
1111
02:16:23,116 --> 02:16:27,087
-...you have to turn things
into different angles.
1112
02:16:27,154 --> 02:16:30,324
For example, the columns here
1113
02:16:30,390 --> 02:16:33,026
are absolutely the ones
in Sant'Andrea della Valle.
1114
02:16:33,093 --> 02:16:34,261
-Mm-hmm.
1115
02:16:34,328 --> 02:16:35,562
-It's, I think,
the only church in Rome
1116
02:16:35,629 --> 02:16:38,866
that has columns like this,
the gold fluting.
1117
02:16:38,932 --> 02:16:42,503
And the altarpiece is the chapel
1118
02:16:42,569 --> 02:16:45,239
that "Tosca"
is meant to take place in,
1119
02:16:45,305 --> 02:16:47,674
and the gate through
to the Attavanti Chapel.
1120
02:16:47,741 --> 02:16:51,245
But, of course, on-site,
this would be the nave,
1121
02:16:51,311 --> 02:16:53,680
and the chapels
would all go this way,
1122
02:16:53,747 --> 02:16:55,849
with altars here.
-Right.
1123
02:16:55,916 --> 02:17:00,320
-So, you can be site-specific,
but you have to move it around.
1124
02:17:00,387 --> 02:17:03,857
The -- The, um --
Castel Sant'Angelo --
1125
02:17:03,924 --> 02:17:09,930
we have pretty well re-created
the top deck and the angel,
1126
02:17:09,997 --> 02:17:11,798
because, actually,
when you go there,
1127
02:17:11,865 --> 02:17:16,470
you wonder why anybody tried
to do anything smart with it,
1128
02:17:16,537 --> 02:17:18,305
because it's so spectacular.
1129
02:17:18,372 --> 02:17:20,040
And the spectacular thing
about it, of course,
1130
02:17:20,107 --> 02:17:24,678
is that you are seeing the whole
of Rome from that -- that venue.
1131
02:17:24,745 --> 02:17:29,283
-How important is a model, uh,
for developing the steps
1132
02:17:29,349 --> 02:17:33,554
from the initial design, then,
into a completed set?
1133
02:17:33,620 --> 02:17:35,689
-Oh, it's --
it's, uh, absolutely critical.
1134
02:17:35,756 --> 02:17:37,391
-Mm-hmm.
-And you...
1135
02:17:37,457 --> 02:17:39,693
People always say to you,
normally,
1136
02:17:39,760 --> 02:17:42,129
on long-haul flights
to California --
1137
02:17:42,196 --> 02:17:44,097
you're, uh, always beside
somebody who says,
1138
02:17:44,164 --> 02:17:46,366
"Can't you do your work
on a computer?"
1139
02:17:46,433 --> 02:17:48,836
And you absolutely -- I would
say you absolutely can't.
1140
02:17:48,902 --> 02:17:52,472
-Yeah.
-And you have to produce this
1141
02:17:52,539 --> 02:17:57,211
so that you can get every --
see every angle.
1142
02:17:57,277 --> 02:18:00,080
And it has to be built
really exactly,
1143
02:18:00,147 --> 02:18:01,448
because this is what
1144
02:18:01,515 --> 02:18:03,650
the company does all
the construction drafting from.
1145
02:18:03,717 --> 02:18:06,119
-Right.
-So, all these moldings
1146
02:18:06,186 --> 02:18:08,622
are then taken from the model
and drafted.
1147
02:18:08,689 --> 02:18:09,890
-Mm-hmm.
1148
02:18:09,957 --> 02:18:13,327
-And then, the next time
I see it, they're in build.
1149
02:18:13,393 --> 02:18:15,329
-Now, as our audience
have already seen
1150
02:18:15,395 --> 02:18:16,597
from your other productions,
1151
02:18:16,663 --> 02:18:19,132
your costumes
are also spectacular.
1152
02:18:19,199 --> 02:18:20,934
So, what is your inspiration
for those?
1153
02:18:21,001 --> 02:18:22,803
-In the end, I think,
1154
02:18:22,870 --> 02:18:26,373
because of the site-specific
and the libretto,
1155
02:18:26,440 --> 02:18:31,211
we opted for setting it when
it's sort of supposed to be set,
1156
02:18:31,278 --> 02:18:32,913
which is 1800.
1157
02:18:32,980 --> 02:18:35,182
And it's a great costume period.
1158
02:18:35,249 --> 02:18:39,553
I mean, it's a period that --
that has very strict rules
1159
02:18:39,620 --> 02:18:41,822
as to form and shape.
1160
02:18:41,889 --> 02:18:44,324
But then,
once you've established these,
1161
02:18:44,391 --> 02:18:47,628
you can actually enjoy playing.
1162
02:18:47,694 --> 02:18:49,129
The only thing with "Tosca"
1163
02:18:49,196 --> 02:18:53,333
is that you use up
about 85% of your costume budget
1164
02:18:53,400 --> 02:18:56,003
in about seven minutes'
of stage time.
1165
02:18:56,069 --> 02:18:57,638
-[ Chuckling ] My goodness.
1166
02:18:57,704 --> 02:18:59,273
Well, I have
one last quick question.
1167
02:18:59,339 --> 02:19:02,442
In -- With all that in mind,
the -- the last decade,
1168
02:19:02,509 --> 02:19:04,111
we've done so many
of these HD productions.
1169
02:19:04,178 --> 02:19:05,345
-Mm-hmm.
1170
02:19:05,412 --> 02:19:08,849
-And some of the first
HD productions were new,
1171
02:19:08,916 --> 02:19:10,584
and some were not.
-Yeah.
1172
02:19:10,651 --> 02:19:12,486
-Do you now take that
into consideration
1173
02:19:12,553 --> 02:19:13,820
when you are asked,
and do you think...
1174
02:19:13,887 --> 02:19:15,589
-Mm. -
...you know, visually,
1175
02:19:15,656 --> 02:19:17,791
about the camera angles
and all those things, as well?
1176
02:19:17,858 --> 02:19:19,393
-Well, not so much
camera angles.
1177
02:19:19,459 --> 02:19:20,527
I mean, I've always been
1178
02:19:20,594 --> 02:19:23,664
a kind of pedantically detailed
designer.
1179
02:19:23,730 --> 02:19:25,098
That's okay.
1180
02:19:25,165 --> 02:19:27,301
-So, HD, for me,
is the most glorious gift.
1181
02:19:27,367 --> 02:19:29,403
-Yeah?
-Because, for years,
1182
02:19:29,469 --> 02:19:31,705
people in workshop would --
would say to you,
1183
02:19:31,772 --> 02:19:35,642
"I've spent hours on that piece
of costume front or jewelry,
1184
02:19:35,709 --> 02:19:37,010
and nobody's going to see it."
1185
02:19:37,077 --> 02:19:39,479
And now...
-Now everybody sees it.
1186
02:19:41,481 --> 02:19:44,685
-No, and now you really are --
you are caring what is written
1187
02:19:44,751 --> 02:19:47,754
on the -- the paperwork
on Scarpia's table.
1188
02:19:47,821 --> 02:19:48,755
-Mm-hmm.
-And, you know,
1189
02:19:48,822 --> 02:19:51,158
you have to care
about every detail.
1190
02:19:51,225 --> 02:19:54,061
-John, your work here
in this gallery
1191
02:19:54,127 --> 02:19:56,563
and on the stage of the Met
is absolutely stunning.
1192
02:19:56,630 --> 02:19:58,999
So, thank you so much
for talking to me.
1193
02:19:59,066 --> 02:20:00,968
And a huge congratulations
1194
02:20:01,034 --> 02:20:02,402
for your new production
of "Tosca"
1195
02:20:02,469 --> 02:20:03,437
and this wonderful exhibition.
1196
02:20:03,504 --> 02:20:04,738
-Thank you very much.
1197
02:20:04,805 --> 02:20:06,940
It's been such a pleasure
talking to you.
1198
02:20:07,007 --> 02:20:08,041
-Likewise.
-Bye.
1199
02:20:10,177 --> 02:20:11,979
-I am very excited to speak
with Donald Palumbo,
1200
02:20:12,045 --> 02:20:13,614
the Met's Chorus Master.
1201
02:20:13,680 --> 02:20:15,549
Hi, Donald. Hi.
-Hi. [ Chuckles ]
1202
02:20:15,616 --> 02:20:17,217
-Donald, how do you get
the chorus
1203
02:20:17,284 --> 02:20:18,852
to sound so rich and powerful
1204
02:20:18,919 --> 02:20:20,254
during the "Te Deum"
we just heard?
1205
02:20:20,320 --> 02:20:22,256
-Well, I think Puccini
did most of the work.
1206
02:20:22,322 --> 02:20:25,359
As you see,
we come at -- at a moment
1207
02:20:25,425 --> 02:20:27,528
where almost
the entire orchestra drops out,
1208
02:20:27,594 --> 02:20:28,862
and all we have
1209
02:20:28,929 --> 02:20:32,599
is the brass, Scarpia,
and the chorus singing unison.
1210
02:20:32,666 --> 02:20:33,734
-It's just stunning.
1211
02:20:33,800 --> 02:20:35,068
-It's not like
it's very complex writing.
1212
02:20:35,135 --> 02:20:36,103
-Wow.
1213
02:20:36,170 --> 02:20:37,538
-But it's
such an amazing moment,
1214
02:20:37,604 --> 02:20:40,874
coming at the end
of the dramatic swells
1215
02:20:40,941 --> 02:20:42,776
of the rest of the act.
1216
02:20:42,843 --> 02:20:45,379
-It's -- It stops your heart.
-Yeah, it really does.
1217
02:20:45,445 --> 02:20:46,613
And, again --
1218
02:20:46,680 --> 02:20:48,849
and it's the simplicity
is what makes it work.
1219
02:20:48,916 --> 02:20:50,050
It is so powerful.
1220
02:20:50,117 --> 02:20:52,519
-Oh, they've performed "Tosca"
so often,
1221
02:20:52,586 --> 02:20:54,621
so what do you do
to help keep it fresh?
1222
02:20:54,688 --> 02:20:57,157
-I think it's easy to stay fresh
with "Tosca,"
1223
02:20:57,224 --> 02:20:59,426
because it's one
of those operas that,
1224
02:20:59,493 --> 02:21:00,694
every moment onstage,
1225
02:21:00,761 --> 02:21:02,763
something is happening
dramatically.
1226
02:21:02,829 --> 02:21:05,966
There's
no really rigid structure,
1227
02:21:06,033 --> 02:21:09,336
as far as meter that
just keeps going bar to bar.
1228
02:21:09,403 --> 02:21:10,737
Everything is flexible.
1229
02:21:10,804 --> 02:21:12,639
-Does the new production help?
-That certainly helps.
1230
02:21:12,706 --> 02:21:13,874
-Yeah.
-You know,
1231
02:21:13,941 --> 02:21:16,743
every time we are confronted
with new staging,
1232
02:21:16,810 --> 02:21:19,546
I think it brings
new personality into the chorus.
1233
02:21:19,613 --> 02:21:21,949
-Absolutely.
-So, uh, we love doing "Tosca."
1234
02:21:22,015 --> 02:21:24,218
-Well, listen,
the Metropolitan Opera Chorus
1235
02:21:24,284 --> 02:21:25,719
is the best in the business.
-Thank you, Isabel.
1236
02:21:25,786 --> 02:21:26,787
-So thank you so much
for talking to me.
1237
02:21:26,854 --> 02:21:27,888
-Thank you so much.
-Bye.
85846
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