TOSCA

Roles

Role Voice type Premiere Cast, 14 January 1900[12]

(Conductor: Leopoldo Mugnone)[13]

Floria Tosca, a celebrated singer soprano Hariclea Darclée

Mario Cavaradossi, a painter tenor Emilio de Marchi

Baron Scarpia, chief of police baritone Eugenio Giraldoni

Cesare Angelotti, former Consul of the Roman Republic bass Ruggero Galli

A Sacristan bass Ettore Borelli

Spoletta, a police agent tenor Enrico Giordano

Sciarrone, a gendarme bass Giuseppe Gironi

A Jailer bass Aristide Parassani

A Shepherd boy alto Angelo Righi

Soldiers, police agents, altar boys, noblemen and women, townsfolk, artisans

[edit] Synopsis

[edit] Historical context

See also: French Revolutionary Wars

A crowded scene with many soldiers and horses, and much smoke. Some soldiers lie dead or
wounded. In the distance, beyond a short line of trees, is a tall church tower.

The Battle of Marengo, as painted by Louis-François Lejeune

According to the libretto, the action of Tosca occurs in June 1800.[14] Sardou, in his play,
dates it more precisely; La Tosca takes place in the afternoon, evening, and early morning of
17 and 18 June 1800.[15]

Italy had long been divided into a number of small states, with the Pope in Rome ruling the
Papal States in the area of central Italy. Following the French Revolution, a French army

1
under Napoleon invaded Italy in 1796, entering Rome almost unopposed on 11 February
1798 and establishing a republic there.[16] This republic was ruled by seven consuls; in the
opera this is the former office of Angelotti, whose character may be based on the real-life
consul Libero Angelucci.[17] In September 1799 the French, who had protected the republic,
withdrew from Rome.[18] As they left, troops of the Kingdom of Naples occupied the city.
[19]

In May 1800 Napoleon, by then the unquestioned leader of France, brought his troops
across the Alps to Italy. On 14 June his army met the Austrian forces at the Battle of
Marengo (near Alessandria). Austrian troops were initially successful; by mid-morning they
were in control of the field of battle, and their leader, Michael von Melas sent this news
south towards Rome. However, fresh French troops arrived in late afternoon, and Napoleon
attacked the tired Austrians. As Melas retreated in disarray with the remains of his army, he
sent a second courier south with the revised message.[20] The Neapolitans abandoned
Rome,[21] and the city spent the next fourteen years under French domination.[22]

[edit] Act 1

* Scene: Inside the church of Sant'Andrea della Valle in Rome, 1800

Scene depicting a church interior with high stained-glass windows and heavy ornamental
columns. The central figure is a high dignatory around whom several figures are kneeling,
while in the background can be seen the tall pikes of the Swiss Guard.

The Te Deum scene which concludes Act 1; Scarpia stands to left. Photograph of a pre-1914
production at the old Metropolitan Opera House, New York.

Cesare Angelotti, former consul of the Roman Republic and then a political prisoner, runs
into the church and hides in the Attavanti private chapel—his sister is the Marchesa
Attavanti. The painter Mario Cavaradossi arrives to continue work on his picture of Mary
Magdalene. He exchanges banter with an elderly sacristan, before singing of the "secret
harmony" (Recondita armonia) in the contrast between the blonde beauty of his painting
and that of his dark-haired lover, the singer Floria Tosca. The sacristan mumbles his
disapproval before leaving.

Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that
he is being pursued by the royalist police chief Scarpia. Cavaradossi promises to assist him,
before Angelotti hurriedly returns to his hiding place as Tosca arrives. After enquiring
2
suspiciously of the painter what he has been doing, Tosca sings of her desire for a night of
mutual passion: Non la sospiri, la nostra casetta ("Do you not long for our little house"). She
then expresses jealousy over the woman in the painting whom she recognises as the
Marchesa. Cavaradossi explains the likeness; he has merely observed the Marchesa at
prayer in the church. He reassures Tosca of his fidelity before she leaves. Angelotti
reappears, and discusses with the painter his plan to flee disguised as a woman, using
clothes left in the chapel by his sister.

The sound of a cannon signals that Angelotti's escape has been discovered. As he and
Cavaradossi rapidly leave the church the sacristan re-enters with groups of choristers,
celebrating the news that Napoleon has apparently been defeated at Marengo. The
celebrations cease abruptly with the entry of Scarpia, who is searching for Angelotti. He
questions the sacristan, and his suspicions are aroused when he learns that Cavaradossi has
been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's
escape. When Tosca arrives looking for her lover, Scarpia artfully arouses her jealous
instincts by implying a relationship between the painter and the Marchesa. He draws
Tosca's attention to a woman's fan, found in the chapel, and suggests that someone must
have surprised the lovers there. Tosca falls for his deceit; enraged, she rushes off to
confront Cavaradossi. Scarpia orders his agents to follow her, assuming she will lead them
to Cavaradossi and Angelotti, and privately gloats as he reveals his intentions to ravish Tosca
and hang Cavaradossi. A procession enters the church singing the Te Deum; finally Scarpia's
reverie is broken and he joins the chorus in the prayer.

[edit] Act 2

The body of a man lies supine, with a woman, crucifix in hand, kneeling over him. A candle is
placed to each side of his head.

Tosca reverently lays a crucifix on Scarpia's body. Photograph of a pre-1914 production at

the old Metropolitan Opera House, New York.

* Scene: Scarpia's apartment in the Palazzo Farnese, that evening

Scarpia, at supper, sends a note to Tosca asking her to join him. His henchman Spoletta
announces the arrest of Cavaradossi, who is brought in to be questioned about the location
of Angelotti. As the painter is questioned, the voice of Tosca, singing in a celebratory
cantata offstage, can be heard. Cavaradossi denies knowing anything about the escape, and,
after Tosca arrives, is taken to an antechamber to be tortured. He is able to speak briefly
with her, telling her to say nothing. Tosca is told by Scarpia that she can save her lover from
indescribable pain if she reveals Angelotti's hiding place. She resists, but hearing

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Cavaradossi's cries, eventually yields the secret.

Cavaradossi is brought back to the apartment where he recovers consciousness and,

learning of Tosca's betrayal, is initially furious with her. Then news arrives of Napoleon's
victory at Marengo; Cavaradossi gives a defiant "victory" shout before being taken away.
Scarpia, left with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be
freed. She is revolted, and repeatedly rejects his advances. Outside she hears the drums
which announce an execution; as Scarpia awaits her decision, she sings a fervent prayer:
Vissi d'arte ("I lived for art, I lived for love, never did I harm a living creature ... why, O Lord,
why dost thou repay me thus?"). Scarpia remains adamant despite her pleas. When Spoletta
brings news that Angelotti has killed himself, Scarpia announces that Cavaradossi must face
a firing squad the next morning. He tells Tosca that if she will submit to him, he will arrange
for this to be a mock execution. Though Scarpia tells his minion the execution is to be
simulated, he stresses that it will be "as we did with Count Palmieri", and Spoletta states
that he understands his instructions.

Tosca, in despair, agrees, on condition that Scarpia will provide a safe-conduct for herself
and her lover. Scarpia assents, and signs the document. As he approaches to embrace her
she stabs him to death with a knife she has taken from the supper table. After cursing him
and securing the safe-conduct, in a gesture of piety she lights candles and places a crucifix
on the body before leaving quietly.

[edit] Act 3

* Scene: The upper parts of the Castel Sant' Angelo, early the following morning

Roman panorama showing, centre, an arched bridge over a river with a domed building in
the distance. To the right of the bridge is a large circular fortress.

The Castel Sant' Angelo, (right), scene of the Tosca denouement, as painted in the 18th
century

Offstage, a shepherd boy sings (in Romanesco dialect) Io de' sospiri ("I give you sighs") as
church bells sound for matins. In the Castel Cavaradossi is informed that he has one hour to
live. He refuses the offer of a priest but is allowed to write a letter which he begins, but is
soon overwhelmed by his memories of Tosca: E lucevan le stelle ("And the stars shone").
Tosca enters and shows him the safe-conduct. She reveals that she has killed Scarpia, and
that the imminent execution is a sham; Cavaradossi must feign death, but afterwards they
4
can leave Rome together, before the discovery of Scarpia's body. Cavaradossi is amazed at
the courage shown by one so tender: O dolci mani ("Oh sweet hands pure and gentle").
They then sing of the life they will share, though Tosca is worried whether Cavaradossi can
play his part in the mock execution convincingly.

Cavaradossi is led away, and Tosca watches with increasing impatience as the final rituals
are carried out. After a volley of shots, Cavaradossi falls, and Tosca exclaims Ecco un artista!
("What an actor!"). When the soldiers have all left, she hurries towards Cavaradossi, to find
that he is dead; Scarpia has betrayed his word. Heartbroken, she throws herself across the
body. Off-stage voices indicate that Scarpia's body has been found, and that Tosca's guilt is
known. As Spoletta and the soldiers rush in, Tosca rises, evades their clutches, and runs to
the parapet. With a last cry that Scarpia will answer before God, she hurls herself over the
edge.