Product Details

• Actors: Angela Gheorghiu, Roberto Alagna, Ruggero Raimondi, Maurizio Muraro, David Cangelosi
• Format: Classical, Color, DVD, NTSC
• Language: Italian (Dolby Digital 2.0 Stereo)
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.77:1
• Number of discs: 1
• Rated: NR (Not Rated)
• Studio: KULTUR VIDEO
• DVD Release Date: October 25, 2005
• Run Time: 126 minutes
• Average Customer Review: 4.2 out of 5 stars  See all reviews (29 customer reviews)
• ASIN: B000BB1MH8
• Amazon Best Sellers Rank: #77,599 in Movies & TV (See Top 100 in Movies & TV)
• For more information about "Puccini - Tosca (2000)" visit the Internet Movie Database (IMDb)

Editorial Reviews

Amazon.com

Benoit Jacquot's filmed Tosca treads a fine line between operatic staginess and cinematic contrivance. As per the libretto, each act takes place in a single setting, but with the singers here miming to a pre-recorded soundtrack. Jacquot freely reminds us of the conceit with cutaways to the recording session itself--revealing conductor, orchestra, and soloists at work--thus a bridge is made between the on-screen action and the music-making itself, and the inherent duality of any opera production is laid refreshingly bare. The same cannot be said for the director's decision to interpolate spoken dialogue over the music in key places--a distraction, not an enhancement.

Angela Gheorghiu and Roberto Alagna are glamorous and attractive enough to make the most of their Hollywood-style close-ups; their singing easily bears similar close scrutiny--as anyone who owns the CD soundtrack album will surely already know. If Alagna lacks a little power as Cavaradossi on record, his charismatic screen presence happily compensates; while Gheorghiu is both vocally and physically almost ideal as Tosca. Ruggero Raimondi's Scarpia completes an outstanding trio; and in the pit (or, rather, in the studio) conductor Antonio Pappano handles the drama of Puccini's score without missing a single nuance. Both musically and visually, then, this is a Tosca to treasure. --Mark Walker

Product Description

Tosca: A Film by Benoit Jacquot, after the libretto of Puccini’s Opera. With Angela Gheorghiu as Floria Tosca, Roberto Alagna as Mario Cavaradossi, Ruggiero Raimondi as Baron Scarpia. Conducted by Antonio Pappano with the Orchestra and Chorus of the Royal Opera House, Covent Garden. How often has it been said that opera can’t be translated into film? That the camera lens accentuates an opera’s artificiality and turns the protagonists into caricatures? Benoît Jacquot’s masterfully inventive two-hour Tosca, will change the minds of the most diehard opera buffs and win over newcomers to the art. What’s even more astounding is that this is Jacquot’s first venture into opera. Yet, that may be just the point. What makes his film so compellingly audacious is that from the very start he juxtaposes black-and-white scenes of the conductor, Antonio Pappano, and the actor/singers in the recording studio with the staged opera in order to reveal the energy and work that goes into realizing a mighty work of lyrical art and ensemble acting. At other times, he uses soft-focus and grainy black-and-white and color footage of the Roman countryside, the Castel Sant’ Angelo and the interiors of Baroque churches to illustrate what the actors are singing off-screen. These scenes add immeasurably to the opera’s enthralling lyricism. Giacomo Puccini’s music and Guiseppe Giacosa’s libretto are mesmerizing and unforgettable, both enhanced by the director’s focus on the drama between the three main protagonists: Floria Tosca (played by the Romanian soprano Angela Gheorghiu), her lover, the painter and political radical Mario Cavaradossi (played movingly by Roberto Alagna, Gheorghiu’s off-screen husband) and the vilely magnetic Il Barone Scarpia, the fascistic Roman governor (Ruggero Raimondi). From the opening credits of red typeface on black ground, to the surprising black-and-white filming of the conductor guiding the cast with his baton through the opera’s overture and first arias, to the first act in the church, the movie embraces Tosca as a drama of unbridled passions. Through the astute use of hovering overhead shots and swirling camera angles, the film projects and intensifies the emotional upheaval of the three protagonists--the possessively jealous Tosca, the tender and placating Cavaradossi who assures her she has no rivals, and the terrifying Scarpia, determined to capture the Italian fugitive Angelotti (Maurizio Murano). Jacquot demonstrates here how film can strengthen the opera's drama—the silence of the protagonists, their tortured faces, the intensity of their love, their hate, and their fear. In the second act, which takes place in the Palazzo Farnese, the dramatic interplay between Tosca and Scarpia is spellbinding. Scarpia, dining in a darkened room lit only by a roaring fire and candlelight, plots his seduction of Tosca while admiring his contorted face in the gleaming blade of the knife that he also uses to cut a bloody piece of meat. The knife is appropriately prophetic since it is the very blade with which Tosca will kill him later in the scene. Dressed in a dazzling red gown with a sweeping train, Tosca is a stunning contrast to the dark Scarpia. Her fiery sexuality understandably motivates Scarpia's temptation as it leads to his final (albeit well-deserved) doom. The finale on the rooftop of Castel Sant’ Angelo has cumulative power, with Tosca leaping off the parapet into the black void after she realizes that Cavaradossi has been shot with real bullets, instead of the promised blanks. Jacquot has filmed the opera exactly as the libretto directs, ideally capturing its drama and lyricism. Even with Tosca's violent ending, Puccini's great art provides catharsis, a transporting emotional release that soars after the deeply felt power of the tragedy. Rachel Hunter

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Customer Reviews

Most Helpful Customer Reviews

72 of 74 people found the following review helpful:

3.0 out of 5 stars Lovely film version of Tosca... Avoid this Kultur DVD, April 17, 2006

By 

dooby - See all my reviews

This review is from: Puccini - Tosca (2000) (DVD)

This is a lovely film version of Tosca. One should note that it is not a traditional recording of an opera performance. It is essentially a film and should be judged in that context. But do not expect a Zeffirelli-type operatic film either. There is a deliberate intercutting of the operatic sequences with black and white shots of the singers and orchestra in the recording studio. Far from detracting from the experience, this intercutting adds to the vibrancy of the film and shows the timelessness of Puccini's creation. It also shows the very act of creation in progress. The music and dramatic tension are not overtly harmed by this cinematic device. We are reminded throughout that we are watching an opera, that this is a story that despite its realism, is still just a story told on film. That said, when you are transported into this operatic reality, it is done so well that you fully believe in that reality so that cinematic devices like having voiceovers singing the characters' thoughts without the singers themselves visibly singing do not feel out of place. The operatic staging is in the traditonal style and very beautifully done. The performers, particularly Raimondi and Gheorghiu, are superb. However, traditionalists will almost certainly not like this. It received very mixed reviews when it premiered in 2002, its critics very scathing in their attacks, mainly for its cinematic style and what they saw as its deviation from the traditional way of depicting opera onscreen. But judged from a cinematic viewpoint it is a beautiful production, visually sumptuous and dramatically gripping from start to finish. Seldom have I felt so much hatred for Scarpia as I did here. The performances are second to none. Despite the carping from its many critics, they do agree on one point, the singers are outstanding. And it's always a pleasure to be able to watch Angela Gheorghiu, one of the loveliest sopranos to grace the stage. If it can attract a younger audience to the pleasures of opera, so much the better for it.

The present DVD edition is another matter. This film was released on DVD throughout Europe in 2003. The best European version is on the BBC/Opus Arte label. It is a splendid release with the film presented in its original 1.85:1 widescreen with anamorphic enhancement. It comes with the original DTS 5.1 soundtrack as well as a CD-quality PCM Stereo track. It also has separate interviews with Angela Gheorghiu, conducter Antonio Pappano, and director Jacques Benoit. The French edition (TFI) goes one step better in the sound department with both a 6.1 DTS-ES and a 6.1 Dolby Digital Surround Ex soundtrack although it doesn't have the other supplements. Usually BBC/Opus Arte would follow its European edition with a subsequent American release but unfortunately the American distribution rights for this movie fell into the hands of California-based Kultur.

Kultur obviously doesn't think much of this film. It has presented it in the original widescreen but letterboxed into a 4:3 frame (No anamorphic enhancement). As a result you are confined to playing it on a standard TV. On a widescreen display it looks horrible. On a small screen the image is soft but otherwise acceptable. Where the BBC/Opus Arte edition offers optional subtitles with both the original Italian libretto and an English translation available, the Kultur version has the English subtitles burnt permanently onto the print. There is no way to turn them off. Kultur has also done away with the original DTS and Dolby 5.1 Surround tracks. Instead American customers are offered a pathetic 2.0 basic stereo track. (This is not the same as the uncompressed PCM Stereo track offered on the BBC/Opus Arte DVD but a compressed "lossy" version with poorer sound reproduction.) Kultur has also done away with any Extras. No interviews. Nothing whatsoever. A 20-Page Illustrated Booklet? Forget it. Americans only deserve a single-sheet insert with the chapter listings.

The European versions may cost more with freight charges and all, but they are worth every single extra dollar. Do not reward mediocrity by buying this Kultur DVD. If they know they can get away with it, we will be faced with more of this lackadaisical standard in the future. You can get the European editions from any of Amazon's European websites. But be sure your system can play Region 2 discs and is capable of displaying PAL format. (Most European DVDs are in PAL format as opposed to standard American NTSC.)

58 of 61 people found the following review helpful:

5.0 out of 5 stars The nastiest Scarpia around and a wonderfully dramatic Floria Tosca, September 14, 2005

By 

PhantomOfTheOpera "Maria" (Norway) - See all my reviews

This review is from: Puccini - Tosca (2000) (DVD)

This film of Tosca has been available in Europe for some time already. And now the Americans can look forward to being able to watch a new and close to perfect film-version of this opera. Tosca is one of the first operas I've ever watched on dvd and it captured me from the very start. This is passionate drama from beginning to end. An incredible adrenaline rush. The music of Giacomo Puccini's play is overwhelming in many senses, it's strong, but also incredibly beautiful and full of emotions. It takes you through your whole register of feelings in about two hours, from fear and jealousy via passion to absolute agony and in the end wild rage and total despair which ends when Tosca is hurling herself from the roof of the castle.

The real stars of this Tosca are Angela Gheorghiu and Ruggero Raimondi. To me, Raimondi is the best Scarpia ever on disc and he surely didn't disappoint me in this film either. His Scarpia is a man you don't mess around with. Raimondi is obviously a man with great authority both on and off stage. While the film is running we are also shown some brief cuts from the recording session in studio and you'll see Raimondi getting up from his chair to sing his part at the same time as you'll see Scarpia enter the church in the first act. He doesn't need costumes or anything else to give you the impression that here comes a really frightening human being. It's also quite obvious that he lusts for Tosca and he is very good in portraying how much strength it takes to refrain himself from just taking her violently.... Raimondi has an absolutely beautiful voice; dark and rich even if he's now becoming an older man and he can sound both nasty as well as strangely attractive. His scenes with Tosca both in the church and in the castle where Cavaradossi is being tortured are outstanding. Watch and listen to him roaring: "Open the doors so she can hear his cries!!!!" Terrifying! And when Tosca begs him to save Cavaradossi he just looks at her, laughing and saying "I..???? You!!!" in the most arrogant manners ever. To me there will never be another Scarpia.

Angela Gheorghiu who's in possession of a wonderful voice is an outstanding Tosca and it's obvious that she loves being in front of the camera. She flirts with both the camera and Cavaradossi. I guess the passionate scenes are easier for Tosca and Cavaradossi in this film, being husband and wife in real life. But here Gheorghiu seduces both Cavaradossi and the viewer. The absolute peak of her performance in this film must be the scenes with Scarpia where she perfectly portrays her despair when Cavaradossi is being tortured. Her voice is capable of doing so without becoming shrill and you won't hear any of the warcries that some other sopranos utter during these scenes. Her facial expressions and other gestures are also very dramatic, but never affected. The scene where she kills Scarpia makes you sit on the edge of your chair. I've seen Gheorghiu in some other operas on dvd, but this is by far her best role ever. Even better than La Traviata.

To me, the disappointment of this film must be Alagna. His acting skills are better than his singing, but even so they can't cover up a voice that in my opinion is too light and I find his constant vibrato somewhat disturbing. His phrasing isn't too good either, which in my opinion ruins his singing. His cries in the torture scene (Ahime!) instantly made me think of those of a whimpering boy. (Listen to Carreras's cries in Karajans recording from 1980. That's how it should be done....)

The sacristan's acting is also better than his singing. Angelottis' singing and acting are adequate, but his role is only a minor role, so it's actually hard to judge how good this singer is. Spoletta's voice I find slightly unpleasant, but I guess that makes him more suitable for this role. He is good in portraying his underlying fear of Scarpia. All in all the supporting cast are doing a good job.

The filming of Benoit Jacquot is a masterpiece; there are so many brilliant effects in this film. You just have to watch for yourself. I also love Antonio Pappanos' conducting which is both energetic and emotive.

If you want an evening of passionate drama, buy this Tosca. I know that I will be watching this again and again in the years to come.

20 of 20 people found the following review helpful:

5.0 out of 5 stars Tosca Rocks, November 12, 2005

By 

Flying Mouse "redveganeater" (Atlanta, Georgia) - See all my reviews

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This review is from: Puccini - Tosca (2000) (DVD)

Opera's hottest couple serves a performance of Puccini's hottest opera that rocks with emotion. The husband and wife team of Roberto Alagna and Angela Gheorghiu have infused new life into "The Elixir of Love," "La Rondine," and "La Boheme" but this "Tosca" is their best effort yet. Both are young and physically attractive and do very well in the camera close ups that modern opera on video requires.

Had the producers of this filmed version trusted Puccini and given us a traditional performance this would be perfect. The innovations add nothing and are distracting. Switching back and forth from a black and white rehearsal to a color set left me wondering whether we were in Kansas or Oz. For some reason Tosca did not place candles next to Scarpia after she fillets him. But the biggest disappointment of all was the end of Act I where Scarpia is alone on stage instead of in front of a cathedral filled with a crowd celebrating an apparent military victory which ruins the contrast between the religious service and the personification of evil embodied by the military governor of Rome posturing as a human being. It may be old fashioned but my preference is always to see and hear what the audience saw on opening night. And if changes are to be made they should be made by the composer and not a guy with a bag full of gadgets.

Please don't let my carping dissuade you from buying this disk. This is marvelous entertainment dominated by the performance of Angela who does more dramatically with this role than anyone since Maria Callas. My favorite voce di Tosca is Monserrat Caballe. But the diva with the golden throat simply isn't physically credible as an object of desire whereas the stunning Romanian knockout, Ms. Gheorghiu, definitely crosses my lust threshold.

Add to the blend a superb depiction of Baron Scarpia by Ruggero Raimondi as the vile menacing sinister force whose goal is to destroy Mario and degrade Tosca. But, he was a tad too grabby in Act II. The exquisite nature of Scarpia's sexual harassment of Tosca is that it is neither rape nor attempted rape. Simply a quid pro quo: your body for your boyfriend's life. He makes it perfectly clear that she may leave at any time and he won't attempt to stop her. In a traditional performance Scarpia never touches Tosca; she touches him. The only other flaw in his performance is he blinked several times and reptiles don't blink. Even Scarpia's myrmidons were outstanding--particularly Spoletta's simpering sneer at Tosca after Mario's actual rather than simulated execution.

Ask any opera buff what's the best opera ever and you'll get a debate from the devotees of Wagner, Mozart, Verdi, et al. But ask which opera has the best plot and the list narrows with "Tosca" near or at the top. There are no women who have lost their shadow, bird catchers for the Queen of the Night, or sea captains who get to come ashore ever 7 years to try to find a date. "Tosca" rivets you with unbridled passion, political intrigue, and the most loathsome and believable villain imaginable. This opera, and this performance of it, are as good as opera gets. But it would have been even better as a traditional performance.