Giacomo Puccini


Oct 16 - Dec 1

The final performances of the season star Liudmyla Monastyrska in the title role of the passionate diva, Roberto Aronica as Tosca’s lover, the artist and revolutionary Cavaradossi, and Marco Vratogna as the sadistic police chief Scarpia. Joseph Colaneri conducts.

Co-production of the Metropolitan Opera, Bayerische Staatsoper, and Teatro alla Scala.
This season's performances of Tosca are dedicated to the memory of Luc Bondy, who passed away on November 28.

Read Synopsis Read Program
  • Sung In
  • Italian
  • Met Titles In
  • English
  • German
  • Italian
  • Spanish
  • Estimated Run Time
  • 3 hrs 4 mins
  • House Opens
  • Act I 46 mins
  • Intermission 36 mins
  • Act II 43 mins
  • Intermission 32 mins
  • Act III 28 mins
  • Opera Ends
Oct 16 - Dec 1

This production has completed for the season.

Be sure to check out our remaining productions on the season list.

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A scene from Tosca

“An exemplary Tosca”

—Le Monde

World premiere: Teatro Costanzi, Rome, 1900. Met and U.S. premiere: February 4, 1901. Puccini’s melodrama about a volatile diva, a sadistic police chief, and an idealistic artist has offended and thrilled audiences for more than a century. Critics, for their part, have often had problems with Tosca’s rather grungy subject matter, the directness and intensity of its score, and the crowd-pleasing dramatic opportunities it provides for its lead roles. But these same aspects have also made Tosca one of a handful of iconic works that seem to represent opera in the public imagination.


Giacomo Puccini (1858–1924) was immensely popular in his own lifetime, and his mature works remain staples in the repertory of most of the world’s opera companies. His librettists for Tosca, Giuseppe Giacosa (1847–1906) and Luigi Illica (1857–1919), also collaborated with him on La Bohème and Madama Butterfly. Giacosa, a dramatist, was responsible for the stories and Illica, a poet, worked primarily on the words themselves.

Production Luc Bondy

Set Designer Richard Peduzzi

Costume Designer Milena Canonero

Lighting Designer Max Keller

Giacomo Puccini


Giacomo Puccini


A scene from Tosca

No opera is more tied to its setting than Tosca: Rome, the morning of June 17, 1800, through dawn the following day. The settings for each of the three acts—the Church of Sant’Andrea della Valle, Palazzo Farnese, and Castel Sant’Angelo—are familiar monuments in the city and can still be visited today. While the libretto takes some liberties with the facts, historical issues form a basis for the opera: the people of Rome are awaiting news of the Battle of Marengo in northern Italy, which will decide the fate of their symbolically powerful city.


The score of Tosca is considered a prime example of the style of verismo, an elusive term usually translated as “realism.” The typical musical features of the verismo tradition are prominent in this opera: short arias with an uninhibited flood of raw melody, ambient sounds that blur the distinctions between life and art (including the extraordinary tolling of morning church bells as dawn breaks to open Act III); and the use of parlato—words spoken instead of sung—at moments of tension. The title character’s Act II aria, “Vissi d’arte,” is among the most popular solos in all of opera.

Met History

Tosca has opened the Met season five times, beginning in 1919 with Geraldine Farrar and Enrico Caruso and most recently in 2009 with Karita Mattila and Marcelo Álvarez. The 1959 opening night featured Renata Tebaldi, Mario del Monaco (seen here at the curtain call), and George London. Tosca ranks fifth in performance numbers at the Met.

A scene from Tosca