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Tosca - Vienna State Opera tickets

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Tosca - Vienna State Opera

Venue: Vienna State Opera

 
Opernring 2
1010 Wien
Austria
 
 
All dates
Season 2019
 

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Next performance (see season calendar above for other dates). Last Tickets for the date respectively the following period!
Tosca - Vienna State Opera
Mon 14 January 2019
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19:00 - 21:45 Vienna State Opera 299 € Add to cart
 
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Tosca - Vienna State Opera
Fri 18 January 2019
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19:00 - 21:45 Vienna State Opera 299 € Add to cart
 
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19:00 - 21:45 Vienna State Opera 261 € Add to cart
 
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On Request
 
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19:00 - 21:45 Vienna State Opera 98 € Add to cart
 
7
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19:00 - 21:45 Vienna State Opera
On Request
 
 
Tosca - Vienna State Opera
Thu 07 February 2019
Category 1.; Seats side by side
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19:00 - 21:45 Vienna State Opera 299 € Add to cart
 
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19:00 - 21:45 Vienna State Opera 261 € Add to cart
 
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19:00 - 21:45 Vienna State Opera 199 € Add to cart
 
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19:00 - 21:45 Vienna State Opera 141 € Add to cart
 
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7
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Event details
 
Composer/Organizer: Giacomo Puccini

The passion of two lovers is embedded in the wonderful music of Puccini described whose lives and hopes by the political caprice and selfish lust of the brutal police chief Scarpia be destroyed.

 

Synopsis


Historical context


 A crowded scene with many soldiers and horses, and much smoke. Some soldiers lie dead or wounded. In the distance, beyond a short line of trees, is a tall church tower.
 

Italy had long been divided into a number of small states, with the Pope in Rome ruling the Papal States in central Italy. Following the French Revolution, a French army under Napoleon invaded Italy in 1796, entering Rome almost unopposed on 11 February 1798 and establishing a republic there. This republic was ruled by seven consuls; in the opera this is the former office of Angelotti, whose character may be based on the real-life consul Libero Angelucci.[18] In September 1799 the French, who had protected the republic, withdrew from Rome. As they left, troops of the Kingdom of Naples occupied the city.

 

In May 1800 Napoleon, by then the undisputed leader of France, brought his troops across the Alps to Italy once again. On 14 June his army met the Austrian forces at the Battle of Marengo (near Alessandria). Austrian troops were initially successful; by mid-morning they were in control of the field of battle. Their commander, Michael von Melas, sent this news south towards Rome. However, fresh French troops arrived in late afternoon, and Napoleon attacked the tired Austrians. As Melas retreated in disarray with the remains of his army, he sent a second courier south with the revised message.[21] The Neapolitans abandoned Rome,   and the city spent the next fourteen years under French domination.

 

Act 1


Inside the church of Sant'Andrea della Valle


Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds. The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.

Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place. Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world"). After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.

The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church. The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape. When Tosca arrives looking for her lover, Scarpia artfully arouses her jealous instincts by implying a relationship between the painter and the Marchesa Attavanti. He draws Tosca's attention to the fan and suggests that someone must have surprised the lovers in the chapel. Tosca falls for his deceit; enraged, she rushes off to confront Cavaradossi. Scarpia orders Spoletta and his agents to follow her, assuming she will lead them to Cavaradossi and Angelotti. He privately gloats as he reveals his intentions to possess Tosca and execute Cavaradossi. A procession enters the church singing the Te Deum; exclaiming 'Tosca, you make me forget even God!', Scarpia joins the chorus in the prayer.

 

Act 2

 

Scarpia's apartment in the Palazzo Farnese, that evening

Scarpia, at supper, sends a note to Tosca asking her to come to his apartment. He has been unable to find Angelotti, but has arrested Cavaradossi. As Cavaradossi is brought in and questioned, the voice of Tosca, singing a celebratory cantata in another room in the Palace, can be heard. Cavaradossi denies knowing anything about the escape of Angelotti. Tosca arrives, just in time to see her lover taken to an antechamber to be tortured. He is able to speak briefly with her, telling her to say nothing. Tosca is told by Scarpia that she can save her lover from indescribable pain if she reveals Angelotti's hiding place. She resists, but hearing Cavaradossi's cries of pain, eventually tells Scarpia that Angelotti is in the well in the garden of Cavaradossi's villa.

Scarpia orders the torture of Cavaradossi to cease and the wounded painter is brought back in. He recovers consciousness and, learning of Tosca's betrayal, is furious with her. Sciarrone, a police agent, enters with news of Napoleon's victory at Marengo; Cavaradossi gloats, telling Scarpia that his rule of terror will soon be at an end, before being dragged away by Scarpia's men. Scarpia, left with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be freed. She is revolted, and repeatedly rejects his advances. Outside she hears the drums that announce an execution; as Scarpia awaits her decision, she prays to God for help, asking why He has abandoned her: "Vissi d'arte" ("I lived for art"). Scarpia remains adamant despite her pleas. When Spoletta brings news that Angelotti has killed himself, and that everything is in place for Cavaradossi's execution, Tosca, in despair, agrees to submit to Scarpia in return for Cavaradossi's freedom. Scarpia tells his deputy Spoletta to arrange a mock execution, both recalling that it will be "as we did with Count Palmieri".

Following Spoletta's departure, Tosca imposes the further condition that Scarpia provide a safe-conduct out of Rome for herself and her lover. While he is signing the document, Tosca quietly takes a knife from the supper table. As Scarpia triumphantly embraces her, she stabs him, crying "this is Tosca's kiss!". As Scarpia falls dead, she declares that she now forgives him. She removes the safe-conduct from his pocket, lights candles in a gesture of piety and places a crucifix on the body before leaving.

 

Act 3


The upper parts of the Castel Sant'Angelo, early the following morning.

Roman panorama showing, centre, an arched bridge over a river with a domed building in the distance. To the right of the bridge is a large circular fortress.

A shepherd boy sings (in Romanesco dialect) "Io de' sospiri" ("I give you sighs") as church bells sound for matins. Cavaradossi is led in by guards and informed that he has one hour to live. He refuses to see a priest, but asks permission to write a letter to Tosca. He begins to write, but is soon overwhelmed by memories: "E lucevan le stelle" ("And the stars shone"). Tosca enters and shows him the safe-conduct. She tells him that she has killed Scarpia and that the imminent execution is a sham: Cavaradossi must feign death, but afterwards they can leave Rome together, before Scarpia's body is discovered. Cavaradossi is amazed at the courage shown by one so gentle and tender: "O dolci mani" ("Oh sweet hands"). The pair ecstatically plan the life they will live away from Rome. Tosca then anxiously instructs Cavaradossi on how to play his part in the mock execution convincingly. She tells him that he will be shot with blanks by the firing squad and instructs him to fall down as if dead. He agrees to act "like Tosca in the theatre".

Cavaradossi is led away, and Tosca watches with increasing impatience as the execution is prepared. The men fire, Cavaradossi falls, and Tosca exclaims "Ecco un artista!" ("What an actor!"). When the soldiers have all left, she hurries towards Cavaradossi, only to find that he is dead; Scarpia has betrayed her. Heartbroken, she clasps his lifeless body and weeps. The voices of Spoletta, Sciarrone and soldiers are heard, indicating that Scarpia's body has been found, and that Tosca is known to have killed him. As Spoletta, Sciarrone and the soldiers rush in, Tosca rises, evades their clutches, and runs to the parapet. Crying "O Scarpia, Avanti a Dio!" ("O Scarpia, we meet before God!"), she hurls herself over the edge to her death.

 
Program and Cast
 

Season 2018/2019


Conductor: Evelino Pidò


Floria Tosca: Kristine Opolais
Mario Cavaradossi: Vittorio Grigolo
Baron Scarpia: Marco Vratogna


Director: Margarethe Wallmann
Facilities: Nicola Benois

 

 
Venue
 
Vienna State Opera
 

Public Transport
 

Subway lines: U1, U2, U4
Trams: 1, 2, D, J, 62, 65
Buses: 59A
Local Railway: Badner Bahn
Stops: Karlsplatz / Opera

Taxi stands are available nearby.
 

Parking



Parking is only € 6, - for eight hours!

The Wiener Staatsoper and the ÖPARK Kärntner Ring Garage on Mahlerstraße 8, under the “Ringstraßengalerien”, offer the patrons of the Vienna State Opera a new, reduced parking fee. You can park in the Kärntner Ring Garage for up to 8 hours and pay only a flat fee of € 6, -. Just validate your ticket at one of the discount machines inside the Wiener Staatsoper. The normal rate will be charged for parking time greater than 8 hours. The validation machines can be found at the following coat checks: Operngasse, Herbert von Karajan-Platz, and the right and left and balcony galleries.

Important: In order to get the discount, please draw a ticket and do not use your credit card when entering the garage!

After devaluing your ticket in the Wiener Staatsoper you can pay comfortably by credit card or cash at the vending machines.

The machines accept coins and bills up to 50.- Euro. Parking time longer than 8 hours will be charged at the normal rate.
 

History



The structure of the opera house was planned by the Viennese architect August Sicard von Sicardsburg, while the inside was designed by interior decorator Eduard van der Nüll. It was also impacted by other major artists such as Moritz von Schwind, who painted the frescoes in the foyer, and the famous "Zauberflöten" (“Magic Flute”) series of frescoes on the veranda. Neither of the architects survived to see the opening of ‘their’ opera house: the sensitive van der Nüll committed suicide, and his friend Sicardsburg died of a stroke soon afterwards.

 

On May 25, 1869, the opera house solemnly opened with Mozart's Don Giovanni in the presence of Emperor Franz Joseph and Empress Elisabeth.
The popularity of the building grew under the artistic influence of the first directors: Franz von Dingelstedt, Johann Herbeck, Franz Jauner, and Wilhelm Jahn. The Vienna opera experienced its first high point under the direction of Gustav Mahler. He completely transformed the outdated performance system, increased the precision and timing of the performances, and also utilized the experience of other noteworthy artists, such as Alfred Roller, for the formation of new stage aesthetics.

 

The years 1938 to 1945 were a dark chapter in the history of the opera house. Under the Nazis, many members of the house were driven out, pursued, and killed, and many works were not allowed to be played.

 

On March 12, 1945, the opera house was devastated during a bombing, but on May 1, 1945, the “State Opera in the Volksoper” opened with a performance of Mozart's THE MARRIAGE OF FIGARO. On October 6, 1945, the hastily restored “Theaters an der Wien” reopened with Beethoven's FIDELIO. For the next ten years the Vienna State Opera operated in two venues while the true headquarters was being rebuilt at a great expense.

 

The Secretary of State for Public Works, Julius Raab, announced on May 24, 1945, that reconstruction of the Vienna State Opera would begin immediately. Only the main facade, the grand staircase, and the Schwind Foyer had been spared from the bombs. On November 5, 1955, the Vienna State Opera reopened with a new auditorium and modernized technology. Under the direction of Karl Böhm, Beethoven’s FIDELIO was brilliantly performed, and the opening ceremonies were broadcast by Austrian television. The whole world understood that life was beginning again for this country that had just regained its independence.

 

Today, the Vienna State Opera is considered one of the most important opera houses in the world; in particular, it is the house with the largest repertoire. It has been under the direction of Dominique Meyer since September 1, 2010.

 
 
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