Original subtitles

This year's Tosca is no longer a sketch.

We tried to make it abstract.

We wanted a play

that opens up to many women

and many possible moments.

This year, Tosca is about pleats.

We find pleats in all costumes.

It is used

to make the flounces on skirts

as well as the armour of the Swiss guards

and clothes for the clergy.

The fabrics used range from satin to taffeta.

Usually, Tosca is in red.

But this year, we asked Rothko for help in staging Tosca.

It's not a single colour.

It's the sky of Rome before the sunset.

It's the last sunset she sees

from the window

of the Palazzo Farnese.

The church has been realistically reconstructed.

It becomes a labyrinth, a maze.

The church reveals the theatre

and rotates it through 360 degrees

in all directions and positions,

retaining the finesse of La Scala workforce

used in the construction of a work of art.

We will find this art inside Sant'Andrea

where architectural and stylistic research

highlights not only works and sculptures

found in the great churches,

but also works from Italian art.

We travelled through the 17th and 18th centuries.

Through so much beauty we related

the history of art to make it known.

Scarpia is a very interesting character.

At first, Puccini and Ricordi

wanted to call this opera Scarpia.

With the conductor and the director,

during rehearsals, we really studied

the character who is the key to this opera.

The story revolves around him,

what he thinks and what he decides to do.

I think I'm a good person.

I get under a character's skin to play him.

In this case, Scarpia is a manipulative character.

Cavaradossi and Angelotti describe him well at the start.

They say he's a bigot and sadistic.

He uses his guile to deceive everyone

and to find solutions to suit himself.

He plays the role of confessor and hangman.

He is capable of being kind and gentle

and talking to people and convince them,

but then he has them executed.