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No Man's Tosca

I have spent entirely too much time this week watching tragedies. Yesterday it was Peter Grimes (opera). Today was both No Man's Land (movie, for a class) and Tosca (opera). Lost in Translation was good and not a bad ending, but hardly bright and upbeat. I need to take a break from unhappy endings. Proof? While watching Tosca tonight, I kept thinking which characters in it were equivalent to which characters in No Man's Land.

It was a good, competent Tosca production, but nothing overwhelming. I saw Tosca once before, when I was much younger. We drove to Omaha to see it, and made a day of it, with time at the rainforest there before an Indian dinner and the opera. I remember the sets, but little else from that production. But from what I remember, I liked those sets better. In part, it was because of the way the sets were treated in this rendition. A huge flight of stairs formed most of the set, going across the length of the stage, running up, away from the audience. It formed a parapet, the shadowed spaces of Scarpia's mansion, and the church. It worked best as the church. That was its one use which really shone - the oversized sculpture fit in that environment in a way which the oversized painting in Scarpia's house really didn't, especially with its heavy-handed symbolism. Even worse, however, in terms of use of paintings, was the abuse which Cavaradossi's masterpiece suffered in the first act. It was huge, it took up much of the central space of the stairs, propped up so the audience could see it. And everyone walked on it. In street shoes. I winced every time, and they kept doing it - all the main characters, at least. In street shoes. Fresh from the street. Trampling all over a large and incomplete painting.

The singing was good - Tosca's voice was particularly nice. Sadly and unexpectedly though, there were almost no moments of magic in it. What I love most about opera are the vocal and musical moments which are transcendantly gorgeous, spellbindingly good. Peter Grimes had a large handful of them. Tosca didn't, sadly, which is part of what failed to keep me from making the following comparison in my head, off and on, over the course of the opera... The costumes were much more fun to look at than Peter Grimes - but what do you expect, when Tosca is set among Roman nobility, whereas Peter Grimes is about early 19th century English fisherfolk on their work days?

No Man's Land is a movie about the Bosnian-Serbian War. It's a good movie. It's a strong movie. I'm very glad I've seen it.

Cavaradossi clearly is the equivalent of Cera, the man on the mine. His fate is sealed for him even more by other characters than his own action, and his death becomes nearly inevitable. The other characters spend much of the time comforting him, that he won't actually die.

Tosca is Ciki, Cera's fellow countryman. She's a flawed character, full of vices, but they're small when compared to Scarpia/the bad guy. She uses murder for revenge and to try to save herself. She spends lots of time comforting her partner, that really, he'll make it through all of this.

Scarpia has to be Nino's commander, the one whose role in the movie is short but violent and long-lasting. I can't remember the character's name, if he had one. But he didn't care about his minion, and he planted the mine underneath Cera. He's a tormenter of his fellow-man, with little or no conscience, and puts everyone else into such a lousy situation.

I'm less certain about the other characters. Nino doesn't really have a direct equivalent - perhaps Angelotti, if his role had been fleshed out a bit more in the opera. He, like Tosca/Ciki, is dependent, but a rival to Angelotti/Nino, especially when Tosca thinks that Angelotti is a woman sleeping with her beloved.

Hmm... maybe General Soft as the sacristan? Well-meaning, but with lousy consequences? Really, it's just the other characters about which I can develop prolonged comparisons.

Another similarity: nearly all the major characters in both die, are killed, or might as well be dead by the end.