All language subtitles for 2 Interviews

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.