When did Ewa Płonka sing Tosca in Torre del Lago?

She sang Floria Tosca at the Gran Teatro Giacomo Puccini on 31 July 2026, during the 72nd Festival Puccini.

Who performed with Ewa Płonka in Tosca at Torre del Lago?

Vittorio Grigolo sang Mario Cavaradossi and Gevorg Hakobyan sang Baron Scarpia, under conductor Carlo Montanaro in Maria Todaro’s production.

Was this Ewa Płonka’s Festival Puccini debut?

Yes. Coverage of the 2026 festival presented the 31 July Tosca as her debut in the title role at Torre del Lago.

Ewa Płonka’s Tosca at the Puccini Festival, Torre del Lago

On 31 July 2026, Ewa Płonka made her Festival Puccini debut as Floria Tosca at the Gran Teatro Giacomo Puccini in Torre del Lago — singing Puccini’s Roman diva on the open-air stage beside the lake where the composer lived and worked, opposite Vittorio Grigolo as Cavaradossi and Gevorg Hakobyan as Scarpia.

A landmark Puccini debut on sacred ground

For a dramatic soprano of Płonka’s stature, singing Tosca at Torre del Lago is more than another date — it is a pilgrimage. The Gran Teatro all’aperto stands on the shore of Lake Massaciuccoli, opposite the villa where Giacomo Puccini composed. In the 72nd Festival Puccini, she arrived as one of the international debuts of the season: her first Floria Tosca in the place most closely bound to the composer’s life and work.

Press covering the festival framed the evening as a meeting of major voices. Beside her stood Vittorio Grigolo, already a Festival favourite, as Mario Cavaradossi, and Armenian baritone Gevorg Hakobyan as Baron Scarpia — a classic triangular cast for one of opera’s most charged dramas of love, power, and sacrifice.

The performance contract

This engagement was a single, high-profile performance on Friday 31 July 2026 at the Gran Teatro Giacomo Puccini. It sat within the Festival’s rotating Tosca cast across the summer, with Płonka assigned the 31 July evening — the night Italian coverage highlighted for her Torre del Lago debut.

Musical direction was entrusted to Carlo Montanaro, in Maria Todaro’s staging with costumes by Todaro and the historic sets of Carlo Centolavigna — a traditional Roman Tosca framed for the open-air theatre’s summer audience.

Why this Tosca matters

Płonka is celebrated above all as the leading Turandot of her generation, yet Tosca reveals the other face of her art: Italianate line, theatrical voltage, and the ability to hold a vast outdoor house with intimacy as well as power. Festival coverage described her as one of the most compelling dramatic voices of the new generation — intensity of interpretation matched by vocal solidity.

For listeners tracing her path across Verdi and Puccini, Torre del Lago closes a circle: the artist who owns Turandot on the world’s great indoor stages also claimed Tosca on Puccini’s home ground. See more of her Puccini work on Videos, Roles, and current dates on On Stage.