#tosca testing

[qualitythought2003]

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[haylessa]

I made a 2 sided coai/shinshi keychain!

planned this from last year but only got to print it last week. the original design idea was i wanted to make the shape like a hotel room key tag, and it also represents the APTX 4869 capsule that shrunk their bodies in the first place. now with two different identities, they're both trapped in the capsule together. i thought of adding borders but it kinda looked ugly and they got covered too much.

the background color was just a complementary color combination choice, and i love the color turquoise/tosca haha yeah not much to say about that.

actually wanted to add mini charms of the APTX 4869 itself but the vendor i used had a minimum order quantity of 10 when i was only testing out 3 lol. maybe i'll add them in the future but idk.

keychain pic undercut

a bit sad on the coai side because the shinshi side's line art is bleeding through it. it's soo evident on haibara's face:( i don't know if it can even be fixed but at least the shinshi side looked good<3

[opera-ghosts]

Claudia Muzio, nicknamed 'the divine' before Maria Callas, as Tosca at the Met (12/16/1918)

From More legendary voices by Douglas, Nigel:

She was born in a house on the Piazza del Duomo in the university town of Pavia, some twenty miles south of Milan, on 7 February 1889, and she was registered as Claudina Versati of unknown parentage. In fact her mother, a chorus singer, and her father, an operatic stage manager named Carlo Muzio, married at some later date, so that by the time their daughter’s career began she had been officially legitimised. She had a strange childhood, much of it spent backstage in the various opera houses where her father worked — all over Italy, at Covent Garden, where he was often engaged for the summer season, and at the Met, where he spent many of his winters. Most of her formal schooling took place in London, which gave her the ability, unusual in an Italian singer, to speak fluent English, and in her late teens she was sent back to live with relatives in Italy. She studied the piano and the harp in a music college in Turin, and subsequently moved to Milan where she continued her piano lessons with a lady named Annetta Casaloni.

Signora Casaloni was a most unusual piano teacher. She was at that time ninety years old, and in her younger days she had been a well-known operatic mezzo; indeed, back in 1851 she had created the role of Maddalena in RIGOLETTO. It is she who is usually credited with the discovery of Muzio’s voice, though Carlo Muzio had long predicted a great career for her in opera. ‘Since she began to toddle’, one journalist reported him as saying, ‘she has been in the wings watching my rehearsals. She knows all the dramatic roles, the lyric roles and the coloratura roles — nothing will come amiss to her.’ Certainly the extraordinary range of parts which Muzio did subsequently undertake, from the coloratura of Gilda in RIGOLETTO to the unbridled dramatic outpourings of Turandot, bears witness to his prescience, and few if any of her roles could be said to have ‘come amiss’.

Muzio’s début took place at Arezzo, near Florence, on 15 January 1910 as Massenet’s Manon, and within a couple of months she was singing Gilda and Traviata in Messina partnered by Tito Schipa— both of them had just celebrated their twenty-first birthdays. Muzio had no difficulty in establishing herself on the circuit of Italy’s smaller opera houses and it can clearly be taken as proof of her exceptional promise that only eighteen months after her début she was invited by the Gramophone Company in Milan to make her first two recordings. One of these, ‘Si, mi chiamano Mimi’ from LA BOHEME (the other was a passage from LA TRAVIATA), features on a Nimbus recital, NJ 7814, and it provides a fascinating glimpse of a great artist in the making. To set against the brilliant freshness of the tone there is a strange and not entirely attractive edge on the vowel sounds. They are very open and unrounded and in the upper register there is more than a hint of shrillness. The wonderful cornucopia of vocal shadings for which Muzio was to become famous is entirely absent, and although she does attempt an emotional gearchange as she glides into the big tune on ‘Ma quando vien lo sgelo’ — the phrase which to me is the litmus test for whether or not a soprano is worthy of this heaven-sent role — it is almost touchingly unsubtle. The same CD also offers us her recording of this aria made twenty-four years later, within a short time of her death. I shall return to it later; the difference between the two versions encapsulates a lifetime.

My strictures concerning this youthful recording would not be half so severe were it not for the standard which Muzio herself was to set as a mature artist, and the speed of her rise to prominence is a clear indication that even in those early days her virtues greatly outweighed her shortcomings. In the season of 1911-12 she reaped a rich harvest of success in Milan’s Teatro Dal Verme and by 1913 she was considered ready for her début in that holy of holies, La Scala. Her Desdemona there made a deep impression, and she was invited to repeat it the following year in Paris, where she was heard in rehearsal by Mr H. V. Higgins of the Covent Garden Syndicate. Mr Higgins surprised her by asking if she would come over to London the following week and sing Puccini’s Manon, which she did to the delight of one and all — ‘In turn voluptuous, seductive, defiant, passionate and tender, Mlle Muzio promises to be a great acquisition to Italian Opera,’ wrote the Pall Mall Gazette - and it is an indication of the short-term planning which characterised international opera at that time that she stayed in London to sing no less than six different roles at Covent Garden during the next ten weeks. Three times she stepped in as a last-minute replacement — once in OTELLO for Melba, who had to return to Australia because her father had been taken ill, once in LA BOHEME for Claire Dux who had eye trouble, and once in TOSCA for Louise Edvina, who was ‘indisposed’. For the TOSCA she found herself in formidable company — Antonio Scotti as Baron Scarpia and Enrico Caruso as Cavaradossi — but as one of the critics expressed it: ‘Edvina’s misfortune was Miss Claudia Muzio’s opportunity and right excellently she seized it. It was no light ordeal for a young and comparatively inexperienced artist to essay such a role in such circumstances, but Miss Muzio rose gallantly to the occasion and gave a very good account of herself indeed. Her acting and her singing were both really remarkably fine.’

The 1914 season at Covent Garden was an eventful one in many ways. At a Royal Command performance, in the presence of King George V and Queen Mary, a suffragette attempted to address the monarch, and when prevented from doing so locked her arms to a metal rail. According to The Daily Telegraph, when an attendant eventually succeeded in releasing her she struck him for his pains, and when she was bundled out of the building the crowd which had gathered outside ‘denounced her action in vigorous terms’. In sharp contrast to these unseemly goings-on the outstanding event of the season in an operatic rather than a political sense passed unnoticed. As Caruso took his curtain-call after the last performance of TOSCA no one could know that this was his final bow before the London public; nor indeed could anyone have guessed that after such a row of successes as Muzio had enjoyed, her first Covent Garden season would also turn out to have been her last. She was invited to return in 1915, but as things turned out it was to be five years before another season was mounted there, and inexplicably the post-war management never asked her back.

During the first two years of the war Muzio continued to distinguish herself in Italy. In September 1915 she was reunited with Caruso for two performances of PAGLIACCI in the Teatro Dal Verme under the baton of Toscanini, and the following year she was heard by Gatti-Casazza, the manager of the Met, in a piece called MADAME SANS-GENE by Giordano. Though Gatti made a tentative suggestion to her about singing in New York, he carefully refrained from formulating an actual offer, until he returned to the States and found that he was running into soprano trouble. Two of his stars had become unavailable, Lucrezia Bori because of a throat operation and Emmy Destinn because she was under house arrest in Bohemia for disseminating extreme Czech nationalist views. Gatti turned to Claudia Muzio and on 4 December 1916 she was introduced to the New York public as Tosca, once again sharing the stage with Caruso and Scotti. With her acting as much as with her singing she achieved the feat of rousing the traditionally icy Monday evening public to an unusual pitch of enthusiasm — ‘no finer acting has ever been seen on the Metropolitan stage than that offered by Miss Muzio last night,’ wrote the critic of the Morning Telegraph — and for six years she remained one of the company’s most féted prime donne.

One amusing aspect of Muzio’s appearances both at Covent Garden and at the Met was that although she was unknown to the public she was very well known indeed to many of the people backstage. To them she was Carlo Muzio’s little girl whom they had last seen running around amongst the stacks of scenery, and she was warmly welcomed in her new capacity as star performer. Indeed the Met went so far as to negotiate with the Geneva Opera, where Carlo Muzio was currently working, to have him released from his contract so that he and his wife could accompany Claudia to New York, thus turning the whole occasion into something of a family reunion. Carlo, who was a jolly, chatty fellow, unfortunately died the following year, and thereafter Muzio’s mother, who seems to have been Carlo’s exact opposite, tall, silent and forbidding, became Claudia’s constant companion. Several of Muzio’s colleagues felt that it was her mother’s influence which made her for the next ten years almost a recluse in their midst, the two women habitually taking their meals together in the furthest corner of any hotel dining-room and never even nodding to other members of the company as they came in. Frida Leider, who shared a dressing-room with Muzio in Chicago, has left us an intriguing picture of her arriving at the theatre for rehearsals, going straight to her dressing-room, donning an outfit which she used as a sort of working uniform (including hat and gloves), striding on-stage where she marked through the role standing stock still in front of the prompt box, then changing again and leaving the theatre without a word to anyone. The great Russian bass Alexander Kipnis used to recall how rapidly she would vanish from the theatre after a performance, and she herself was quoted in an interview as saying ‘I love my art and I permit nothing to interfere to its disadvantage. I can’t understand how singers can go to suppers and dinners and receptions and still keep in good trim for their work.’ Up to a point she has my sympathy — one hour in a noisy, smoky restaurant after a performance can put your voice under greater strain than three leading roles on the trot — but most opera singers, especially the Italians, are convivial people, and camaraderie is one of the profession’s chief attractions.

It was doubtless this determination of Muzio’s to keep herself to herself during periods of work which gave rise to some of the strange stories which grew up around her. One writer has left a graphic picture of Muzio spending her spare time in a room ‘from which all light was excluded’, brooding tearfully over the machinations of her rivals both in opera and in love; other witnesses, as we shall see, have presented a far more human and appealing picture. A contributory factor to this air of mystery and contradiction surrounding Muzio lies, I think, in the peculiar circumstances of her recording career. The only records which she made by what one might call the ‘normal’ method were the experimental titles of 1911, when her career had hardly begun, and the group of 1934-5 when it was almost over; during her glory years she sang for the Pathé and Edison companies which used a totally different recording technique known as the ‘hill-and-dale’ method. The effect of this was that once the machines needed to play the ‘hill-and-dales’ had gone out of fashion so too did the recordings which Muzio had made in her prime, and without them it has been hard to appreciate the potent spell which she used to cast over her listeners. Now, however, thanks to the advent of CD, they have become easily accessible and the story they have to tell is one of boundless fascination.

Thirty-seven titles are to be found on Pearl’s two-disc set GEMM CDS 9072, and thirty-five (all but one of them included on the Pearl disc) on an American two-disc set, Cantabile BIM-705-2.* These recordings were all made between 1920 and 1925 and I must immediately emphasise that in terms of hiss and crackle they demand more tolerance from the listener than most of the other CDs to which I refer in this book. Even the experts (and in this instance the Pearl company turned to one of the best) cannot make a ‘hill-and-dale’ sound as innocuous as a ‘normal’ 78, but I would urge all those interested in the intriguing subtleties of operatic interpretation to let their ears become accustomed to the surface noise — imagine that the singer was recording during a hailstorm and frying an egg the while — and allow this compelling artist to speak to them across the years and through the interference. To take one track at random, it would be hard to listen to Muzio’s rendering of the scena ‘Dove son? Donde vengo?’ from Catalani’s LORELEY and fail to recognise the sheer ability which it reveals. The dramatic singing has an arresting impact, the text is projected not merely with clarity but with genuine theatrical flair, the rapid passages are dispatched with sovereign ease and the tone quality is one of total evenness right up from the thrilling chest notes to the brilliant high C. This was the role in which Muzio made her début in the Teatro Colén, Buenos Aires, on 18 June 1919 and so overwhelming was her success that the piece was revived there specially for her in six subsequent seasons. To quote one of the reviews: ‘Outstanding amongst the cast was the new soprano Claudia Muzio. An elegant figure, beautiful posture, expressive gestures and a winning vocal style, all are hers. Her voice, so flexible and well controlled, though there are limits to its volume, is capable through its great brilliance of giving new life to less robust pieces such as this one of Catalani’s.’ To this day no other soprano has held sway over the Argentinian public as Muzio did. Known as ‘La divina Claudia’ or simply ‘La tnica’, she appeared at the Col6n in the course of ten seasons between 1919 and 1934 in no less than twenty-three different operas, including several whose names would mean nothing to the public of today, but which enjoyed considerable popularity as long as Muzio was there to appear in them.

[...] Another role which Muzio introduced to the Met* was Tatiana in EUGENE ONEGIN, with Giuseppe de Luca in the title-role, and her account of the Letter Scene, unfamiliar though it may sound in Italian, is gripping and intense. In music of this sort, with its very direct emotional appeal, she uses no artifice, but sings with her heart on her sleeve — it comes straight from her to you. In more florid pieces — the two TROVATORE arias, for instance, or the Bolero from I VESPRI SICILIANI — it is inevitable that one should admire the technique as well as the content, but even there the virtuosity never becomes an end in itself. In his review of Muzio’s first Tosca at the Met the critic Richard Aldrich wrote ‘It was to be noticed last night that she was always willing to sacrifice vocal display to the need of colouring a phrase to suit the dramatic intention of the moment’, and that does indeed appear to have been part of her artistic creed. It is _ also the clue to one of her outstanding virtues as an artist, her knack of shedding light on everything she sings, so that the old and trite can sound suddenly new and intriguing.

[...] Another of the New York critics, the representative of the Evening Sun, waxed lyrical about Muzio at her Met début, and he, too, made some interesting points. ‘She was the first Italian woman of importance that New York has heard in the one allItalian melodrama of Puccini.' [...]

But Muzio really was Tosca. Youth, that gem above rubies, shone like a Kohinoor in her modest crown. The drama, for sheer realism of actuality, had not been so visualised in years before.’ I do not know who it was who first bestowed on Muzio the soubriquet of ‘the Duse of Song’,* but it would not have clung to her as it did unless it had hit the nail on the head. Again and again the use of her huge dark Italian eyes, her elegant gestures and the intensity of her stage persona are singled out by the critics for as much praise as her actual singing. She was an impressive figure — at five foot nine inches tall enough, indeed, to be self-conscious about it, especially as so many of her regular partners, Gigli, Schipa, Martinelli and others, were noticeably shorter — and she possessed the ability to create an atmosphere of place and period in her performances. This partly came, no doubt, from the thoroughness with which she researched her roles. For her Tosca costumes she sought out those which Sarah Bernhardt had worn for the original Sardou play and had copies made; and when she was preparing the last of her new roles, Cecilia in Refice’s opera of that name, she read everything she could find about the life of Saint Cecilia, visited the church built over the saint’s old home and the catacombs where her statue lies, and based her costumes on portraits of her in various stained-glass windows. There was, however, much more to Muzio’s impact on stage than these external considerations. She carried with her the aura of the tragedy queen, and I remember a great British connoisseur of opera, Rupert Bruce-Lockhart, once telling me that when the curtain went up on the last act of Muzio’s LA TRAVIATA ‘you could almost smell the sick-room’.

[...] During the period represented by these recordings Muzio’s professional calendar underwent an important change. When she returned to the Met in January 1922 after one of her sojourns in South America she found that much had altered. For six years she had been Caruso’s most regular partner and now he was gone. His place as the company’s leading box-office attraction had been taken by the newly imported Maria Jeritza, who was, both as a performer and as a person, the very antithesis of Claudia Muzio. No longer feeling at home at the Met Muzio managed to get on the wrong side of Gatti-Casazza, who complained to his opposite number at La Scala that Muzio’s South American and Mexican triumphs had turned her head, and that now, unable to bear playing second fiddle to Jeritza, she, who had always been so obliging, had taken to presenting him with ‘tantrums, whims, long faces, rebellious attitudes worthy of a prima donna of forty years ago’. He did not re-engage her, and she transferred her allegiance to Chicago where she shared pride of place with the Scottish lyric soprano Mary Garden, another renowned singing actress, and the Polish dramatic soprano Rosa Raisa, famous for her clarion top notes. Despite the competition of these two established favourites Muzio had no difficulty in winning a secure position in the hearts of her new public, and she remained with the Chicago company until its collapse in 1932.

We remembered Claudia Muzio’s exceptional beauty of voice and gifts of temperament before she won for herself solid renown and substantial wealth in America. We have looked forward to her return, and now we can affirm that no damage has befallen her beyond the ocean, but that, on the contrary, her original gifts now bear the hallmark of perfection. Traviata sung by Muzio represents exquisite musical enjoyment, and it will long remain in the mind.

[whencyclopedia]

Giacomo Puccini

Giacomo Puccini (1858-1924) was an Italian composer best known for his operas La Bohème, Tosca, Madama Butterfly, and Turandot. Puccini drew inspiration from a wide range of literary sources, and his late Romantic music with its immortal melodies emphasised the strong characters, drama, and fast pace of his emotional operas, which remain today as popular as ever.

Early Life

Giacomo Puccini was born in Lucca in the Italian region of Tuscany on 22 December 1858. He came from a long line of musicians who had held the position of organist at Lucca's San Martino Cathedral since the previous century. Giacomo's father Michele (1813-1864), was both the cathedral's organist and choirmaster, and he was the director of the local music school, the Istituto Pacini; he died when Giacomo was just six years old. Unfortunately for tradition, Giacomo, although interested in music, would take an entirely different career path from his forefathers.

Giacomo, the fifth of eight children, was raised by his mother, Albina, who ensured he learnt to play the organ and sing. Giacomo sang in the cathedral choir from age ten. He attended the Istituto Pacini and graduated in 1880, his final exam piece being his Messa di Gloria. Thanks to financial help from a cousin and a successful application for a grant, Giacomo moved on to the Conservatory in Milan. Aiming far higher than the position of organist in Lucca, Giacomo's fate had been sealed back in 1876 when he heard a performance in Pisa of Aida by Giuseppe Verdi (1813-1901). The magic of Verdi's tragic opera set in ancient Egypt convinced Puccini that he too should earn a living writing operas.

The young composer's graduation piece at the Conservatory was Capriccio Sinfonico, a promising orchestral piece, but it was Le villi (The Fairies), a one-act opera, that would open doors for Puccini. The work was staged at the Teatro dal Verme in Milan in 1883. Puccini's professional career took off in 1884 when he performed music from his opera at a private party and it happened to be heard by Giulio Ricordi, the famed publisher who had Verdi on his books. Ricordi added Puccini to his publishing stable and commissioned him to write another opera. The result was Edgar, which premiered at Milan's La Scala theatre in 1889. The La Scala audience has always been a testing one to win over, and unlike his first, Puccini's second opera fell flat. The composer himself considered the work a "mistake" (Thompson, 174).

Puccini was on safer ground with his third opera, Manon Lescaut, a tried and tested libretto that had been used for Jules Massenet's opera Manon (1884), which was itself based on the 1731 novel L'histoire du chevalier des Grieux et de Manon Lescaut by Abbé Prévost. Puccini also tried a new city for his premiere: Turin on 1 February 1893. Manon Lescaut was a raging success – the composer was obliged to take 30 curtain calls – with further productions in London and Philadelphia in 1894. The composer's career was finally launched. The story of Manon Lescaut, told in four acts, has Des Grieux fall in love with Manon, and they elope to escape the clutches of the elderly Géronte. Nevertheless, Manon is attracted by the life of luxury she could lead with Géronte and chooses him over Des Grieux. Géronte is suspicious that Manon has rekindled her affair with his rival, arrests her, and so she will be deported. Des Grieux boards the ship taking away Manon, and they are reunited only for Manon to die in his arms. Audiences loved it. The story of a tragic soprano heroine who dies in a singing finale would be used time and again by Puccini.

Continue reading...

[sexygaywizard]

thoughts on Tosca?

Kind of a girlboss. Unfortunately it does not pass the Bechdel test

[tinybasementtale]

Full Stack Testing vs. Full Stack Development: What’s the Difference?

In today’s fast-evolving tech world, buzzwords like Full Stack Development and Full Stack Testing have gained immense popularity. Both roles are vital in the software lifecycle, but they serve very different purposes. Whether you’re a beginner exploring your career options or a professional looking to expand your skills, understanding the differences between Full Stack Testing and Full Stack Development is crucial. Let’s dive into what makes these two roles unique!

What Is Full Stack Development?

Full Stack Development refers to the ability to build an entire software application – from the user interface to the backend logic – using a wide range of tools and technologies. A Full Stack Developer is proficient in both front-end (user-facing) and back-end (server-side) development.

Key Responsibilities of a Full Stack Developer:

Front-End Development: Building the user interface using tools like HTML, CSS, JavaScript, React, or Angular.

Back-End Development: Creating server-side logic using languages like Node.js, Python, Java, or PHP.

Database Management: Handling databases such as MySQL, MongoDB, or PostgreSQL.

API Integration: Connecting applications through RESTful or GraphQL APIs.

Version Control: Using tools like Git for collaborative development.

Skills Required for Full Stack Development:

Proficiency in programming languages (JavaScript, Python, Java, etc.)

Knowledge of web frameworks (React, Django, etc.)

Experience with databases and cloud platforms

Understanding of DevOps tools

In short, a Full Stack Developer handles everything from designing the UI to writing server-side code, ensuring the software runs smoothly.

What Is Full Stack Testing?

Full Stack Testing is all about ensuring quality at every stage of the software development lifecycle. A Full Stack Tester is responsible for testing applications across multiple layers – from front-end UI testing to back-end database validation – ensuring a seamless user experience. They blend manual and automation testing skills to detect issues early and prevent software failures.

Key Responsibilities of a Full Stack Tester:

UI Testing: Ensuring the application looks and behaves correctly on the front end.

API Testing: Validating data flow and communication between services.

Database Testing: Verifying data integrity and backend operations.

Performance Testing: Ensuring the application performs well under load using tools like JMeter.

Automation Testing: Automating repetitive tests with tools like Selenium or Cypress.

Security Testing: Identifying vulnerabilities to prevent cyber-attacks.

Skills Required for Full Stack Testing:

Knowledge of testing tools like Selenium, Postman, JMeter, or TOSCA

Proficiency in both manual and automation testing

Understanding of test frameworks like TestNG or Cucumber

Familiarity with Agile and DevOps practices

Basic knowledge of programming for writing test scripts

A Full Stack Tester plays a critical role in identifying bugs early in the development process and ensuring the software functions flawlessly.

Which Career Path Should You Choose?

The choice between Full Stack Development and Full Stack Testing depends on your interests and strengths:

Choose Full Stack Development if you love coding, creating interfaces, and building software solutions from scratch. This role is ideal for those who enjoy developing creative products and working with both front-end and back-end technologies.

Choose Full Stack Testing if you have a keen eye for detail and enjoy problem-solving by finding bugs and ensuring software quality. If you love automation, performance testing, and working with multiple testing tools, Full Stack Testing is the right path.

Why Both Roles Are Essential :

Both Full Stack Developers and Full Stack Testers are integral to software development. While developers focus on creating functional features, testers ensure that everything runs smoothly and meets user expectations. In an Agile or DevOps environment, these roles often overlap, with testers and developers working closely to deliver high-quality software in shorter cycles.

Final Thoughts :

Whether you opt for Full Stack Testing or Full Stack Development, both fields offer exciting opportunities with tremendous growth potential. With software becoming increasingly complex, the demand for skilled developers and testers is higher than ever.

At TestoMeter Pvt. Ltd., we provide comprehensive training in both Full Stack Development and Full Stack Testing to help you build a future-proof career. Whether you want to build software or ensure its quality, we’ve got the perfect course for you.

Ready to take the next step? Explore our Full Stack courses today and start your journey toward a successful IT career!

This blog not only provides a crisp comparison but also encourages potential students to explore both career paths with TestoMeter.

For more Details :

Interested in kick-starting your Software Developer/Software Tester career? Contact us today or Visit our website for course details, success stories, and more!

🌐visit - https://www.testometer.co.in/

[mulemasters]

Quality Assurance (QA) Analyst - Tosca

Model-Based Test Automation (MBTA):

Tosca uses a model-based approach to automate test cases, which allows for greater reusability and easier maintenance.

Scriptless Testing:

Tosca offers a scriptless testing environment, enabling testers with minimal programming knowledge to create complex test cases using a drag-and-drop interface.

Risk-Based Testing (RBT):

Tosca helps prioritize testing efforts by identifying and focusing on high-risk areas of the application, improving test coverage and efficiency.

Continuous Integration and DevOps:

Integration with CI/CD tools like Jenkins, Bamboo, and Azure DevOps enables automated testing within the software development pipeline.

Cross-Technology Testing:

Tosca supports testing across various technologies, including web, mobile, APIs, and desktop applications.

Service Virtualization:

Tosca allows the simulation of external services, enabling testing in isolated environments without dependency on external systems.

Tosca Testing Process

Requirements Management:

Define and manage test requirements within Tosca, linking them to test cases to ensure comprehensive coverage.

Test Case Design:

Create test cases using Tosca’s model-based approach, focusing on functional flows and data variations.

Test Data Management:

Manage and manipulate test data within Tosca to support different testing scenarios and ensure data-driven testing.

Test Execution:

Execute test cases automatically or manually, tracking progress and results in real-time.

Defect Management:

Identify, log, and track defects through Tosca’s integration with various bug-tracking tools like JIRA and Bugzilla.

Reporting and Analytics:

Generate detailed reports and analytics on test coverage, execution results, and defect trends to inform decision-making.

Benefits of Using Tosca for QA Analysts

Efficiency: Automation and model-based testing significantly reduce the time and effort required for test case creation and maintenance.

Accuracy: Reduces human error by automating repetitive tasks and ensuring consistent execution of test cases.

Scalability: Easily scales to accommodate large and complex testing environments, supporting continuous testing in agile and DevOps processes.

Integration: Seamlessly integrates with various tools and platforms, enhancing collaboration across development, testing, and operations teams.

Skills Required for QA Analysts Using Tosca

Understanding of Testing Principles: Fundamental knowledge of manual and automated testing principles and methodologies.

Technical Proficiency: Familiarity with Tosca and other testing tools, along with basic understanding of programming/scripting languages.

Analytical Skills: Ability to analyze requirements, design test cases, and identify potential issues effectively.

Attention to Detail: Keen eye for detail to ensure comprehensive test coverage and accurate defect identification.

Communication Skills: Strong verbal and written communication skills to document findings and collaborate with team members.

[kamalkafir-blog]

Project West-SAP Testing-Jl9

Job title: Project West-SAP Testing-Jl9 Company: DXC Technology Job description: Job Description: UFT One/Test Magic/Tosca – Job Description: We are seeking an experienced UFT One /Tosca Architect…, with a strong focus on opentext UFT One. The UFT One Architect will be responsible for designing, implementing, and maintaining automation… Expected salary: Location: Bangalore, Karnataka Job date:…

[rajaganapathi114]

2025's Top 10 Software Testing Tools: Unlocking Their Power

Testing is still very important in the ever-changing world of software development. As apps get more complex and user expectations rise, testers demand cutting-edge tools to ensure quality, functionality, and a faultless user experience. In 2025, there are many innovative testing options accessible; choosing the finest ones will allow your team to create software that is exceptional.

If you want to learn more about Software Testing Online Certification, think about enrolling in this online course.

The Best Tools for Software Testing:

1. The Selenium

The most flexible open-source automation framework is unquestionably Selenium, the seasoned pro. With support for the most common operating systems, languages, and browsers, it enables you to write reliable test scripts for online applications. For both novice and experienced testers, its freemium business model and extensive community assistance make it the perfect option. Learn about Appium for mobile testing, Selenium WebDriver for browser automation, and Selenium IDE for quick test script development.

2. Cypress

This rising star's unmatched speed and user-friendly UI make it stand out. By running tests directly in the browser, Cypress provides real-time feedback and does away with the requirement for browser extensions, in contrast to standard frameworks. Its emphasis on JavaScript makes it ideal for contemporary web applications and provides outstanding visual debugging features.

3. The Postman

For those who love testing APIs, Postman is the best. With this user-friendly tool, creating, sending, and analysing API queries is a breeze. Its extensive community of plugins extends its capabilities to include collaboration tools, performance analysis, and security testing. Postman offers both a free plan and premium alternatives to accommodate both large teams and individual testers.

4. Studio Katalon

With tools for desktop, mobile, online, and API apps, this extensive suite meets a wide range of testing requirements. Testers of various skill levels can use it because to its intuitive interface, and its integrated record-and-playback capability facilitates the rapid production of test scripts. Collaboration and automation are made easier by Katalon Studio's seamless integration with a variety of issue trackers and CI/CD pipelines.

5. Appium

Appium is the tool of choice if your area of expertise is mobile applications. This open-source framework supports native, web, and hybrid apps and makes use of Selenium's basic features for cross-platform mobile automation. Comprehensive testing and debugging on iOS and Android devices is made possible by its connection with frameworks such as XCTest and Appium Inspector.

6. SoapUI

SoapUI is the industry leader in SOAP and REST API testing. Its robust assertion features guarantee comprehensive validation of replies, and its user-friendly interface streamlines both automatic and manual API testing. Its usefulness is further increased by mock services and data-driven testing, which makes it a favourite among advocates of API testing.

7. Tosca Tricentis

Intelligent automation is provided by this AI-powered package, which covers performance, regression, and functional testing for a range of technologies. Learn Software Testing in a well Reputed Software Training Institutes. Its machine learning techniques optimise test performance and proactively detect any problems, and its Tosca Commander makes it easy to create test scripts. Businesses looking for cutting-edge automation and AI-driven insights are served by Tricentis Tosca.

8. Studio Ranorex

Ranorex Studio is well-known for its cross-platform desktop application testing capabilities. It has record-and-playback capabilities and visual test automation. Its integrated object repository guarantees test reusability, and its keyword-driven methodology streamlines test authoring. Ranorex Studio is a flexible option for a range of testing requirements because it also supports online and mobile testing.

9. The LoadRunner

LoadRunner, a performance testing veteran, keeps enabling teams to evaluate how applications behave under high demand. It is perfect for locating bottlenecks and guaranteeing scalability because of its capacity to simulate numerous concurrent users and evaluate performance data. Performance testing may be incorporated into the development process thanks to LoadRunner's smooth integration with CI/CD pipelines.

10. The Kantu

Kantu provides a gentle introduction to automation testing for individuals who are unfamiliar with it. Without knowing how to code, you may create test scripts and record user interactions using this free browser-based application. It is perfect for novices or rapid manual test script preparation due to its straightforward interface and visual representation.

The Power of Integration: 

These tools' full power is seen in how well they integrate. Automate testing at every stage of the development process by using tools such as CI/CD pipelines. Connect issue trackers to your testing tools for easy defect tracking and reporting. Adopt collaborative tools to help your team communicate and share knowledge more easily.

Conclusion:

With the correct software testing tools, your team can increase productivity, enhance software quality, and provide outstanding user experiences. Keep in mind that the best testing approach comprises a well-defined testing methodology, qualified specialists, and the appropriate equipment. With these effective tools at your side, start your testing adventure and realise the full potential of your software development process.

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What Is TOSCA Training and Placement, and How Can It Help Your Career?

In today's fast-paced software development landscape, automation testing has become a vital component of quality assurance. As companies shift towards Agile and DevOps methodologies, the need for robust and reliable test automation tools is rising. One tool that stands out in this competitive space is the TOSCA Automation Tool by Tricentis. If you're looking to build a rewarding career in test automation, then TOSCA Training and Placement might be your perfect starting point.

Whether you're a recent graduate or a professional aiming to switch careers, understanding what TOSCA is, how it works, and the benefits of TOSCA training online will give you a significant edge. This blog explores TOSCA Automation Tool for Beginners, explains the career benefits, and provides practical insights into why training and placement in this tool is a smart move.

What Is TOSCA?

TOSCA stands for Topology and Orchestration Specification for Cloud Applications, but in the context of software testing, it refers to Tricentis TOSCA, a model-based test automation tool.

Key Features of TOSCA

Model-Based Test Automation: No need to write scripts; testers can create automated test cases using drag-and-drop modules.

Risk-Based Testing: Focuses on critical test cases first to reduce testing time and effort.

Integration with CI/CD: Supports integration with Jenkins, Azure DevOps, and other CI/CD tools.

Cross-Platform Testing: Supports desktop, web, mobile, API, and even SAP testing.

Reusable Test Cases: Modular design allows for reusability and efficient test management.

Why Is TOSCA in Demand?

According to a 2024 World Quality Report, 85% of organizations have adopted test automation.

TOSCA is used by top companies like Accenture, Capgemini, and Cognizant.

It simplifies test automation, making it accessible even for non-programmers.

What Does TOSCA Training and Placement Include?

TOSCA Training Online: What You’ll Learn

1. Introduction to Test Automation

What is automation testing?

Advantages of automation over manual testing

2. TOSCA Basics

Installation and setup

TOSCA workspace overview

Types of testing supported

3. Module and Test Case Creation

Working with test cases

Creating reusable modules

Parameterization and data-driven testing

4. Test Case Execution

Execution lists and test configurations

Analyzing execution logs

Reporting and documentation

5. API Testing in TOSCA

Creating API test cases

Validating responses

Integration with web services

6. Advanced Concepts

Risk-based testing implementation

CI/CD pipeline integration

Automating SAP applications

7. Hands-On Projects

Real-world testing scenarios

Simulated industry projects for practice

Placement Support

1. Resume Preparation

Optimizing your resume for automation roles

Highlighting TOSCA skills

2. Interview Guidance

Mock interviews

Commonly asked TOSCA interview questions

3. Job Referrals and Networking

Access to partner companies

LinkedIn and job portal strategies

4. Certification Preparation

TOSCA AS1 (Automation Specialist Level 1)

Guidance to crack Tricentis certifications

Real-World Applications of TOSCA

TOSCA in Banking and Finance

Automating customer onboarding workflows

API testing for banking applications

TOSCA in Healthcare

Validating electronic health record (EHR) systems

Ensuring regulatory compliance

TOSCA in Retail

Cross-browser testing of e-commerce platforms

Mobile application testing for POS systems

TOSCA in Telecom

System integration testing for telecom billing

Regression testing during software upgrades

Who Should Enroll in TOSCA Training and Placement?

Fresh Graduates looking to enter the IT sector

Manual Testers wanting to transition into automation

Developers interested in automation as a secondary skill

Non-IT Professionals seeking a career switch into tech

Benefits of TOSCA Training Online

Flexibility and Convenience

Learn from anywhere at your own pace

Access to recorded sessions and study materials

Instructor-Led Classes

Live doubt-clearing sessions

Real-time interaction with experienced trainers

Cost-Effective Learning

Lower than traditional classroom training

No commuting expenses

Lifetime Access to LMS

Access to videos, notes, and assignments

Revisit concepts anytime during your career

How to Get Started with TOSCA Automation Tool for Beginners

Step-by-Step Beginner’s Guide

Step 1: Understand the Basics

Start by learning what test automation is and how TOSCA fits into the software testing ecosystem.

Step 2: Install TOSCA

Download the trial version from the Tricentis website and install it on your system.

Step 3: Explore the Interface

Familiarize yourself with the TOSCA Commander workspace, test case sections, and module structure.

Step 4: Create Your First Test Case

Use the standard modules to automate a simple web login scenario.

Step 5: Run and Debug

Execute your test case, review logs, and troubleshoot any errors.

Step 6: Advance Gradually

Move on to API testing, data-driven tests, and CI/CD integration.

Why Choose a Professional Training Provider?

Structured Curriculum

A well-designed course ensures you cover all essential topics.

Access to Experts

Industry-experienced instructors guide you with practical knowledge.

Placement Assistance

You get support for resume building, interview preparation, and job placements.

Community Access

Interact with fellow learners and mentors through forums and discussion boards.

Industry Insights: Job Market and Salary Trends

According to Indeed, TOSCA testers in the U.S. earn an average of $95,000 annually.

There are over 5,000 job openings for TOSCA-skilled professionals in the U.S. job market.

The demand for TOSCA is expected to grow 30% annually as more companies automate their testing pipelines.

Common Job Roles After TOSCA Training

TOSCA Automation Engineer

QA Automation Tester

Test Analyst

TOSCA Consultant

Quality Engineer

Tools and Technologies You’ll Work With

Jenkins

Jira

Selenium (integration)

Azure DevOps

Git

SAP Testing Modules

Success Stories: Career Transformations

Case Study 1: From Manual Tester to Automation Lead

Priya, a manual tester from New Jersey, took online TOSCA training and landed an Automation Lead role within 6 months.

Case Study 2: Career Switch from BPO to IT

Rakesh, who worked in BPO, switched to a QA Automation career after completing TOSCA training and is now placed at a Fortune 500 company.

Key Takeaways

TOSCA Training and Placement offers a clear path to high-paying automation roles.

TOSCA is user-friendly and suitable even for non-programmers.

Online training provides flexibility, affordability, and practical experience.

Real-world applications make TOSCA a valuable skill in multiple industries.

Placement support ensures a smooth transition into the job market.

Conclusion

In the competitive tech industry, gaining hands-on experience in tools like TOSCA can set you apart. Whether you're just starting or looking to advance your career, investing in TOSCA Training and Placement is a strategic move. With user-friendly features, strong demand, and real-world relevance, the TOSCA Automation Tool for Beginners opens the door to numerous job opportunities. Choose TOSCA Training Online and take the next big step in your QA career.

Ready to launch your career in automation testing? Enroll in TOSCA Training Online today and transform your future!

[toscoautomation]

Visualpath offers top-quality Tosca training in Ameerpet, featuring live instructor-led online classes by industry experts. Gain real-time experience and access class recordings and presentations for reference. For more information Call/WhatsApp: +91-9989971070

Join us on WhatsApp: https://www.whatsapp.com/catalog/919989971070/

Visit: https://visualpath.in/tosca-testing-training.htmlRead Our blog: https://visualpathblogs.com/

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Best Tosca training In Hyderabad.

Kickstart your automation testing journey with Next IT Career, offering the best Tosca online training in Hyderabad. Our comprehensive course is designed to equip you with practical knowledge of Tosca, covering real-time scenarios, automation frameworks, and test management. Learn from certified trainers and get hands-on experience that sets you apart in the job market. As one of the top-rated institutes, we ensure the best Tosca training in Hyderabad with personalised mentorship and placement assistance. Whether you're a fresher or an experienced professional, our training helps you build a strong foundation in Tosca automation. Choose Next IT Career to advance your skills and land top opportunities in the testing domain. Enrol now to take your career to the next level!

https://www.nextitcareer.com/best-tosca-training-in-hyderabad/

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Boost Your Skills with a Tosca Certification Course at Next IT Career

Kickstart your automation testing journey with Next IT Career, offering the best Tosca online training in Hyderabad. Our comprehensive course is designed to equip you with practical knowledge of Tosca, covering real-time scenarios, automation frameworks, and test management. Learn from certified trainers and get hands-on experience that sets you apart in the job market. As one of the top-rated institutes, we ensure the best Tosca training in Hyderabad with personalised mentorship and placement assistance. Whether you're a fresher or an experienced professional, our training helps you build a strong foundation in Tosca automation. Choose Next IT Career to advance your skills and land top opportunities in the testing domain. Enroll now to take your career to the next level!

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Boost Your Skills with a Tosca Certification Course at Next IT Career

Kickstart your automation testing journey with Next IT Career, offering the best Tosca online training in Hyderabad. Our comprehensive course is designed to equip you with practical knowledge of Tosca, covering real-time scenarios, automation frameworks, and test management. Learn from certified trainers and get hands-on experience that sets you apart in the job market. As one of the top-rated institutes, we ensure the best Tosca training in Hyderabad with personalised mentorship and placement assistance. Whether you're a fresher or an experienced professional, our training helps you build a strong foundation in Tosca automation. Choose Next IT Career to advance your skills and land top opportunities in the testing domain. Enrol now to take your career to the next level!

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Automation Testing Market Size, Share, Analysis, Forecast, and Growth Trends to 2032: Software Quality Becomes a Strategic Priority

The Automation Testing Market was valued at USD 29.4 billion in 2023 and is expected to reach USD 118.6 billion by 2032, growing at a CAGR of 16.80% over 2024-2032.

The Automation Testing Market is experiencing a transformative shift as businesses increasingly prioritize faster time-to-market and enhanced software quality. Driven by the rising demand for digital transformation and agile methodologies, automation testing has become a critical element in software development lifecycles. Organizations are embracing automated solutions to minimize manual intervention, reduce errors, and ensure consistent performance across platforms.

Automation Testing Market continues to gain traction across sectors such as BFSI, healthcare, retail, telecom, and manufacturing. With the growing complexity of applications and integration of AI and machine learning into testing tools, the market is evolving rapidly. Enterprises are not just automating repetitive test cases but also leveraging intelligent automation to predict defects, improve test coverage, and enhance user experiences.

Get Sample Copy of This Report: https://www.snsinsider.com/sample-request/4127 

Market Keyplayers:

Selenium - Selenium WebDriver

Tricentis - Tosca

IBM - Rational Functional Tester

Micro Focus - UFT (Unified Functional Testing)

SmartBear - TestComplete

Cucumber - CucumberStudio

Appium - Appium

Katalon - Katalon Studio

Ranorex - Ranorex Studio

Worksoft - Worksoft Certify

Sahi - Sahi Pro

LambdaTest - LambdaTest

Eggplant - Eggplant Functional

Perfecto - Perfecto Test Automation

TestComplete - TestComplete

Telerik - Test Studio

Sauce Labs - Sauce Labs Selenium Grid

Applitools - Visual AI Testing

Postman - Postman API Testing

Tricentis – qTest

Market Analysis

The automation testing landscape is driven by rapid technological advancements and the increasing need for efficient, error-free deployment processes. Businesses are adopting DevOps and continuous integration/continuous deployment (CI/CD) pipelines, fueling the demand for scalable and flexible testing solutions. Cloud-based testing platforms and open-source tools have further expanded accessibility, enabling SMEs to compete alongside large enterprises. The growth of mobile and web applications has also intensified the requirement for robust cross-platform testing frameworks.

Market Trends

Rise of AI and Machine Learning: Intelligent automation is empowering predictive analytics in testing, enhancing accuracy and speed.

CI/CD Integration: Seamless integration of automation tools into CI/CD pipelines accelerates development cycles.

Cloud-Based Testing: Scalable cloud infrastructure enables remote and parallel testing environments.

Codeless Automation Tools: These tools are lowering the technical barriers, making automation accessible to non-developers.

Increased Adoption in SMEs: Open-source frameworks and SaaS models are driving adoption across small and medium businesses.

Market Scope

Expanding Across Verticals: Automation testing is being adopted in healthcare, eCommerce, BFSI, telecom, and automotive industries.

Global Penetration: North America leads, but Asia-Pacific is emerging rapidly with digitization initiatives.

Beyond Functional Testing: Growth in performance, security, and usability testing automation.

Support for Emerging Tech: Evolving tools support IoT, blockchain, and AR/VR applications.

High ROI Potential: Reduced human error, faster testing cycles, and better product quality.

As the demand for seamless user experiences and reliable digital platforms grows, the market's potential continues to expand. From startups to multinational corporations, the focus on automation is no longer optional but essential.

Market Forecast

The future of the Automation Testing Market is poised for exponential growth, powered by innovation and demand for faster, higher-quality releases. As enterprises transition from legacy testing methods to modern, AI-driven frameworks, automation is expected to redefine how software is built, tested, and delivered. With continuous investments in R&D and vendor competition heating up, the market is set to witness breakthroughs in intelligent test orchestration, self-healing scripts, and hyper-automation capabilities.

Access Complete Report: https://www.snsinsider.com/reports/automation-testing-market-4127 

Conclusion

In a world where digital agility defines success, the Automation Testing Market stands as a pivotal force in accelerating innovation. For businesses aiming to stay competitive, embracing automation isn't just a trend—it's a strategic imperative. Whether you're a tech leader, a QA professional, or an enterprise innovator, now is the time to capitalize on the wave of transformation driving this dynamic market forward.

About Us:

SNS Insider is one of the leading market research and consulting agencies that dominates the market research industry globally. Our company's aim is to give clients the knowledge they require in order to function in changing circumstances. In order to give you current, accurate market data, consumer insights, and opinions so that you can make decisions with confidence, we employ a variety of techniques, including surveys, video talks, and focus groups around the world.

Contact Us:

Jagney Dave - Vice President of Client Engagement

Phone: +1-315 636 4242 (US) | +44- 20 3290 5010 (UK)

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Lead Consultant_SAP Testing_TOSCA

skills:Technology->Automated Testing->Automated Testing – ALL,Technology->Package testing->SAP Preferred… Skills : Technology->Automated Testing->Automated Testing – ALL->TOSCA,Technology->Package testing->SAP-&gt… Apply Now