View of soprano Leontyne Price in Puccini's opera, "Tosca." Stamped on back: "NBC photo." Handwritten on back: "Miss Price in Act II."
E. Azalia Hackley Collection of African Americans in the Performing Arts, Detroit Public Library

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View of soprano Leontyne Price in Puccini's opera, "Tosca." Stamped on back: "NBC photo." Handwritten on back: "Miss Price in Act II."
E. Azalia Hackley Collection of African Americans in the Performing Arts, Detroit Public Library

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MARIA CALLAS as Floria Tosca in Puccini's Tosca, 1953
the second act of la boheme is like crack to me i can’t explain it i listen to it the whole way through whenever im feeling down and when it finishes i just start it over again its so good it scratches my brain in just the right way i just want to flail around trying to sing every part of the chaotic back-and-forths and when it gets to quando m’en vo it takes everything i have in me not to start giggling and bouncing around in public when she hits that last note and then pulls it back juuuuust a bit AND THE ENDING when the quando m’en vo melody comes back and everyone’s just full out SINGING and musetta’s screaming about her damn shoe and the harmonies and parpignol oh i could ramble about la boheme act 2 for hourssssss
remaking this poll
who would win
the chief of police, a tyrannical despot
an opera singer with one fruit stabby boi
Christine Baranski 👑 spotted at The Metropolitan Opera House performance of Puccini's Tosca.
📷 @rcallahanphoto | @lastnightatthemet via IG
(November 12, 2024)

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one of the things that kind of emotionally breaks me about tosca is that the first time we see tosca & cavaradossi is also the only time we will ever see them happy until the end of their lives. it’s the last time they’ll ever be happy & they don’t know it yet. they’ve been singled out for tragedy and it will crash over them like a wave that approaches too fast and pulls anything under. we can see the approaching lights in the distance & they can’t. go, be happy, my artist couple, rib and tease each other one last time. you’ll never do it again. it’s the only time i will see you laugh, so let me see you happy just once.
I started laughing crudely. "What the fuck? You torture my boyfriend and then you expect me to fuck you? God, you are so fucked up you fucking bastard." I said angrily. Then I stabbed him in the heart. Blood poured out of it like a fountain.- Floria Tosca
3/21/26.
Thanks to Bandcamp user Raffaele Melina (we have a whopping 154 items in common) for buying this and therefore bringing it to my attention. I really don't own much music like this - I have a few classical records that I listen to now and then. I really enjoy my Gershwin "Rhapsody in Blue" LP and Joe Jackson's "Will Power", but let's face it, I'm not listening to classical music often.
And, to be honest, this isn't necessarily classical music. "Salò, or The 120 Days Of Sodom" is the soundtrack to the 1975 "political art horror film directed and co-written by Pier Paolo Pasolini". Pasolini was murdered three weeks before it's release. The film is loosely based on "120 Days of Sodom" by the Marquis de Sade. The film has been banned, praised, adored, and hated.
I've never seen the film, but it's hard to imagine that it was named the 65th-scariest film ever made by the Chicago Film Critics Association in 2006 based on this amazing soundtrack. Really, give it a listen. It puts me in the same mood as Molly Drake's enchanting piano compositions sans vocals. Cold Spring, a British label based in Northamptonshire, just released this late last month.
It looks like Ennio Morricone did some of the composition himself, but he used the works of Bach, Chopin, Puccini and more when making this wonderful soundtrack.