Opera on film is never satisfactory. The art demands live viewing. The innate theatrics that provide its thrills and extreme emotions lose their luster when flattened onscreen.
Tosca (2002)
Tomatometer
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Reviews Counted:37
Fresh:24
Rotten:13
Average Rating:6.3/10
Theatrical Release:Jul 12, 2002 Limited
Synopsis: French director Benoit Jacquot (A SINGLE GIRL) adapts the famous opera by Giacomo Puccini in his film TOSCA. The stunningly dramatic opera stars--Angela Gheorghiu as Floria Tosca, Roberto Alagna as... French director Benoit Jacquot (A SINGLE GIRL) adapts the famous opera by Giacomo Puccini in his film TOSCA. The stunningly dramatic opera stars--Angela Gheorghiu as Floria Tosca, Roberto Alagna as Mario Cavaradossi, and Ruggero Raimondi as Baron Scarpia--steal the show with their intense vocal range and fiery acting. The film cuts back and forth between black and white photography that shows the singers and a full orchestra recording the opera in a studio, and color photography that shows the costumed presentation, act by act, with several different sets. Mario (Alagna) is painting a portrait on the wall of the chapel, inspired by a fair-haired beauty who he has just seen praying below. When his girlfriend, the possessive Diva Tosca (Gheorghui) pays him a surprise visit, he must reassert his love for her, trying to ease her worries and her jealousy at seeing the painting. However, that night when a prisoner escapes, Mario is a suspected accomplice and he is wanted by the police. The evil Baron Scarpia (Raimondi) lies to Tosca, telling her that Mario ran off with the fair-haired beauty, and using her jealousy to get her to aid the police in his capture. This film was included in the Rendez-Vous with French Cinema 2002 festival organized by the Film Society of Lincoln Center in New York City. [More]
Starring: Angela Gheorghiu, Roberto Alagna, Ruggero Raimondi
Starring: Angela Gheorghiu, Roberto Alagna, Ruggero Raimondi
Director: Benoit Jacquot
Director: Benoit Jacquot
Composer: Giacomo Puccini
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Reviews for Tosca
Director Benoit Jacquot, making his first opera-to-film translation with Tosca, conveys the heaving passion of Puccini's famous love-jealousy- murder-suicide fandango with great cinematic innovation.
This filmed Tosca -- not the first, by the way -- is a pretty good job, if it's filmed Tosca that you want. I'll stay with the stage versions, however, which bite cleaner, and deeper.
Audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching, but otherwise the production is suitably elegant.
Every conceivable mistake a director could make in filming opera has been perpetrated here.
The director has injected self-consciousness into the proceedings at every turn. The results are far more alienating than involving.
Benoit Jacquot serves up Puccini's warhorse with a minimum of cinematic hoo-ha and a maximum of respect.
A fine production with splendid singing by Angela Gheorghiu, Ruggero Raimondi, and Roberto Alagna.
Jacquot's rendering of Puccini's tale of devotion and double-cross is more than just a filmed opera. In his first stab at the form, Jacquot takes a slightly anarchic approach that works only sporadically.
Jacquot's strategy allows his cast the benefit of being able to give full performances ... while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself.
For the most part, it works beautifully as a movie without sacrificing the integrity of the opera.
Two hours fly by -- opera's a pleasure when you don't have to endure intermissions -- and even a novice to the form comes away exhilarated.
Angela Gheorghiu as famous prima donna Floria Tosca, Roberto Alagna as her lover Mario Cavaradossi, and Ruggero as the villainous, lecherous police chief Scarpia, all sing beautifully and act adequately.
If the material is slight and admittedly manipulative, Jacquot preserves Tosca's intoxicating ardor through his use of the camera.
Though the opera itself takes place mostly indoors, Jacquot seems unsure of how to evoke any sort of naturalism on the set.
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