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A Pasolinian landscape over which hovers the overwhelming image of a cross, symbol of the collusion between political and religious oppression: Pierre Audi’s reading divests the work of its ceremonial dress and strips bare its perfectly regulated tragic mechanism, the cogwheels of its drama which, from the raising of the curtain to the tragic downfall, operate with pitiless efficiency. With its transition from theatre to opera, Sardou’s play becomes the very symbol of operatic art. Is that because Tosca portrays a prima donna whosejealousy has weighty consequences for the destiny of her lover? The music overflows the drama to reveal the sensuality of its immortal heroine.
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