Сharacters in the play
Boris Statsenko performs the role of Baron Scarpia
Floria Tosca, a celebrated singer — soprano
Mario Cavaradossi, a painter — tenor
Baron Scarpia, chief of police — baritone
Cesare Angelotti, former Consul of the Roman Republic — bass
A sacristan — bass
Spoletta, a police agent — tenor
Sciarrone, a gendarme — bass
A gaoler — bass
A shepherd-boy — alto
Creation
The opera is set Rome, in June of 1800, the year Napoleon invaded Italy. During the action, the Austrian General Melas is reported to have defeated Napoleon and the consequent celebrations are likely to be attended by Queen Marie Caroline, wife of the Neapolitan king Ferdinand IV, daughter of Empress Maria Theresa of Austria and sister to Marie Antoinette of France. Baron Scarpia, the much-feared Chief of Police, is based on a real-life Sicilian figure, who incidentally affected old-fashioned dress more appropriate to an earlier period. Cavaradossi and Angelotti are supporters of the liberal group hoping for Napoleon?s victory.
Сontents
Act I: The Church of Sant?Andrea della Valle
As the curtain rises, we meet Angelotti, just escaped from prison and in a frenzy to locate the Attavanti chapel in which his sister has hidden clothes to help disguise his escape. He disappears into the chapel as the Sacristan comes looking for Cavaradossi. The painter has not yet arrived, and the Sacristan particularly notes that the food in his lunch basket is as yet untouched. When Cavaradossi comes in and uncovers the picture he has been working on, the Sacristan observes that the painting of Mary Magdalene is modeled after a woman who has been seen several times lately at prayer in the church. As Cavaradossi starts to work again, he pauses to dream of his love, Floria Tosca. The Sacristan grumbles as he cleans the brushes while Cavaradossi sings, and then to his delight he hears that the painter plans to leave his food untouched.
Angelotti comes out of hiding and recognizes in Cavaradossi a political sympathizer. Cavaradossi wants to help but, hearing Tosca?s voice outside, urges Angelotti to hide again in the chapel.
Tosca?s jealousy prompts her to think someone is with Cavaradossi; but he reassures her, and it is not long before the two are making an assignation for later that night. Cavaradossi seems less than enthusiastic and it takes all Tosca?s blandishments to bring his thoughts round to hers. She recognizes the Magdalene as a portrait of Marchesa Attavanti and suspicion flares up again. Cavaradossi says there is nothing to it; he saw her yesterday, and painted her at prayer, demanding rhetorically what eyes could compare with Tosca?s.
Tosca leaves; Angelotti comes out of the chapel, and he and Cavaradossi refer with hatred to what they describe as the bigoted satyr Scarpia who has consigned Angelotti to prison. Cavaradossi offers Angelotti his villa as a place to hide. He tells Angelotti to hide in the well in the garden in case of emergency. A cannon shot is heard, announcing the escape of a prisoner. Cavaradossi and Angelotti make a hurried exit as the Sacristan returns. He summons the choristers, and tells them word has just arrived of Napoleon?s defeat. The choristers dance happily in anticipation of extra pay for a special concert celebrating the victory over the French.
The rejoicing is cut short by the arrival of Scarpia. His orders are quickly given, and a fan is equally quickly found in the chapel: Marchesa Attavanti?s! An agent brings in the basket, now empty of the lunch which Cavaradossi wasn?t going to eat. Scarpia decides Cavaradossi must have been Angelotti?s accomplice. When Tosca returns, Scarpia affects to contrast her seemly behavior in church with that of others who come perhaps to meet their lovers and points to the fan which (he pretends) was on the painter?s scaffold. Tosca quickly recognizes that the crest on the fan is that of the very woman she saw in Cavaradossi?s painting. It is more than enough to arouse her jealousy, and when she leaves, Scarpia orders several of his men to follow her. He then joins in the Te Deum, genuflecting to the Cardinal in procession but singing lustily of the satisfaction he will have in revenging himself on Cavaradossi and bending Tosca to his pleasure.
Act II: Scarpia?s apartment in the Palazzo Farnese
Scarpia is at supper. His passions rise as he reflects that he infinitely prefers a forced conquest to a passive surrender. Then Spoletta brings bad news-he tracked Angelotti to Cavaradossi?s villa, but the fugitive was nowhere to be found. But there is also good news-he has arrested Cavaradossi. A cantata celebrating Napoleon?s defeat in being performed in the courtyard; Tosca?s voice can be heard through an open window as Cavaradossi is brought in. Scarpia starts to interrogate his prisoner, who denies all knowledge of Angelotti. The questioning continues as Tosca enters the room. Tosca has no idea that next door is a torture chamber, and she and Scarpia at first converse as if there were no external pressures; but not for long. Her heated denial of any knowledge of Angelotti?s whereabouts prompts Scarpia to describe the torments Cavaradossi is undergoing. She is horrified and gasps out the truth-Angelotti is hiding in the well at Cavaradossi?s villa.
Cavaradossi, dragged into Scarpia?s room, haltingly asks Tosca if she gave anything away. Tosca denies it, but the truth is revealed when Scarpia instructs Spoletta, «In the well in the garden!» As Spoletta leaves, Sciarrone hurries in with the news that Napoleon has been victorious after all. Cavaradossi finds the strength to hurl a great cry of defiance at Scarpia, «Vittoria!»
Scarpia nonetheless holds the cards. Perhaps, he suggests, he and Tosca may together concoct a plan to save Cavaradossi. «Your price?» demands Tosca. Scarpia laughs at her naiveté. It is not money he wants; she is the price that must be paid for Cavaradossi?s life. Distant drums suggest an escort about to conduct the prisoner to the scaffold. In the opera?s most famous aria (one Puccini is said to have grudged its place as interrupting the flow of the action), Tosca laments the awful reward God has given her for all of her good works.
Spoletta returns to report that Angelotti took poison as he was arrested, and then waits for instructions about the other prisoner. Tosca reluctantly agrees to Scarpia?s terms, and the Police Chief tells Spoletta there has been a change of plan. For Cavaradossi there will be a mock execution, simulated only-«just as we did in the case of Palmieri. You understand; just like Palmieri.» Spoletta seems to grasp the emphasis. Tosca demands one more thing before yielding: she wants a written safe-conduct for herself and Cavaradossi, so they can leave the country after Scarpia has had his way with her. Then, as Scarpia writes the document at his desk, Tosca sees a knife on the supper table, picks it up and stabs him to the heart. Tearing the safe-conduct from Scarpia?s dead hand, she slowly leaves the room.
Act III: A platform high on Castel Sant?Angelo
A shepherd sings below, and as dawn approaches Cavaradossi is brought in before the jailer. Cavaradossi tries to write a last letter to Tosca, but loses himself in memories of her. Tosca appears, and tells Cavaradossi how she killed Scarpia, and how there is to be a mock execution. The lovers plan their departure, and their voices join in a duet which ends on a note less of love than of defiance. But Scarpia has kept one last card up his sleeve. The mock execution was real after all, and Cavaradossi falls dead. Meanwhile, Scarpia?s body has been found. Spoletta and Sciarrone dash in to arrest Tosca, but she eludes both of them and plunges to her death over the parapet.