Owen/White Management

Tenor

Martyn Hill

Śpiewak

Artist

Approved

2014

2011

2009

2008

2007

2005

2003

2002

1999

1988

1985

Individual contributor id

include virtual contributors

Accordionist

Instrumentalista

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

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Recorder Player

Saxophonist

Tenor Violinist

Timpani

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Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

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Violist

Aktor

Broadcasting

Chefdirigent Musiktheater

Choreografia

Chorus Director

Chór

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Dyrygent

Extra

Fryzjer

Illustrator

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Kostiumy

Libretto

Makijaż

Orchestra Operations

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Produkcja wykonawcza

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Wideo

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Kontralt

Bas - baryton

Mezzosopran

Kontratenor

Baryton

Sopran

Alto

Continuo

Głos dziecięcy

Silent

Spoken

Malin Byström takes on the title role in Richard Strauss’s searing opera, as featured in the V&A exhibition Opera: Passion, Power and Politics. www.roh.org.u...

Salome Strauss,R

Bryn Terfel as Scarpia performing 'Te Deum' from Act I of Jonathan Kent's production of Tosca (2011). The Royal Opera.

Find out more at http://www.roh.org.uk/productions/tos...


Find out more: http://www.roh.org.uk/about/bp-big-sc...


From its famous, dissonant opening chords, Tosca conjures up a world of political instability and menace. The Chief of Police, Scarpia – one of the most malevolent villains in opera – ruthlessly pursues and tortures enemies of the state. His dark, demonic music contrasts with the expansive melodies of the idealistic lovers, Tosca and Cavaradossi, who express their passion in sublime arias. Giacomo Puccini’s dramatic work was an instant hit with audiences on its 1900 premiere and it remains one of the most performed of all operas.

A candle-lit church, the darkness of a brooding study with its hidden torture chamber and the false optimism of a Roman dawn: Jonathan Kent’s naturalistic production throws into relief the ruthlessly taut drama, as the tension is wound up towards its fateful conclusion. Puccini’s score is infused with the same authentic detail, from distant canon fire during the Act I ‘Te Deum’ to tolling church bells and the sounds of a firing squad.

Martyn Hill

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