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Scarpia

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Scarpia

By: Piers Paul Read
Narrated by: Leighton Pugh
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About this listen

Man is a delicate mechanism...he can easily be set off course.

It is the late 18th century, and a young Sicilian nobleman, Vitellio Scarpia, finds himself penniless and in disgrace on the streets of Rome. After leaving his home to pursue a military career, his impulsive and undisciplined nature has led to his expulsion from Spanish royal guard, and he must now seek his fortune in Italy - a fortune inseparably bound up with the ruler of the Eternal City, the Pope.

Scarpia enrolls in the papal army and becomes the lover of an alluring countess who introduces him into Roman society, with its blend of religiosity, sophistication, and intrigue. Half enthralled, half appalled, Scarpia enjoys the life of the decadent city, learning in due course that as an unsophisticated provincial he is no match for the worldliness of Rome.

Patronized by a powerful cardinal, Scarpia is sent on a mission to Venice, where he encounters the beautiful, exquisitely gifted singer Floria Tosca. As the armies of revolutionary France invade Italy, and war and revolution engulf the whole peninsula, the lives of the two become fatefully entwined.

Piers Paul Read brilliantly reimagines the infamous villain of Puccini's opera, Tosca, telling a story that shines a light into the dusty corridors of history and the dark corners of the human soul.

©2015 Piers Paul Read (P)2015 Audible, Inc.
Fiction Historical Fiction Italy War Rome France Royalty City
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Scarpia elegantly rationalised looses his heart/

I have no problem with the elegant writing and fascinating history to this novel. But. give me the passionate heart of the Scarpia in the opera Tosca, who dominates a whole congregation singing the Te deum, is ruthless with torture and desire and can be charming about hiss supper! Tosca in the opera is a fully fleshed woman. For me it is the ending of the book that disappoints as the author seems to play ball with the possible endings other than that in the opera, choosing the most plausible. In doing so we might have a more realistic picture but it is muted and this Scarpia lacks the sheer force of the man before whom all Rome trembled so brilliantly portrayed by Tito Gobbi in the opera.

But perhaps that is the author's point. The Scarpia I love is a misinterpretation and he is rightening it. But I loved Tito Gobbi as Scarpia and the opera far too much to change!

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