TOSCA.
Musical Drama in three acts by V. SARDOU, L. ILLICA and G. GIACOSA.
Music by GIACOMO PUCCINI.
The libretto of this opera is adapted from Sardou's tragedy of the same name; it possesses all the exquisite stage effects of which this writer is capable. It is based on fact; these most tragic events having actually taken place in Rome in 1800 at the time of the battle of Marengo.
The music far surpasses the libretto, although the latter handles the dreadful facts with as much delicacy as possible.
Puccini may fairly be called the most gifted among Italian composers. In Tosca especially he has shown the ennobling influence of music over an otherwise repulsive theme. The lovely melodies inspire us with a warm interest in all the persons of the play, with the exception of Scarpia, that living incarnation of evil and corruption. The leading melodies that introduce Scarpia are almost brutal in their tone; the three intervals of B flat, A flat and E which accompany Scarpia from the beginning through the whole drama sound hard and inexorable like fate, and form a striking contrast to the songs of the two lovers, whose duet in the third act is one of the sweetest things ever written.
The scene is laid in Rome. The first act takes place in the church of Sant' Andrea della Valle. Cesare Angelotti a state-prisoner has escaped from gaol and is hiding in a private chapel of which his sister, the Lady Attavanti, has secretly sent him the key.
When he has disappeared from view the painter Cavaradossi enters the church. He is engaged in painting a picture to represent Mary Magdalen; the canvass stands on a high easel and the sacristan, who is prowling about, recognizes with scandalized amazement and indignation that the sacred picture resembles a beautiful lady, who comes to pray daily in the church. The old man, after having left a basket with food for the painter, retires grumbling at this sacrilege.
When he is gone Angelotti comes forward, and the painter recognizing in the prisoner the Consul of the late Roman Republic who is at the same time an intimate friend of his own, puts himself at his disposal, but hearing the voice of his fiancée Tosca, who demands entrance he begs the prisoner, a victim of the vile Scarpia, to retire into the chapel, giving him the refreshments, which the sacristan has left.
At last he opens the church-door, and Tosca, a famous singer enters looking suspiciously around her, for she is of a jealous disposition. She begs her lover to wait for her at the stage door in the evening. He assents and tries to get rid of her, when her suspicions are reawakened by the sight of the picture, which she sees is a portrait of the Lady Attavanti. With difficulty he succeeds in persuading her of his undying love and at last induces her to depart; he then enters the chapel, and urges Angelotti to fly, while the way is clear. The chapel opens into a deserted garden from whence a foot-path leads to the painter's villa, in which there is a well now nearly dry. Into this well the painter advises Angelotti to descend if there is any danger of pursuit, as half way down there is an opening leading to a secret cave where his friend will be in perfect safety.
The Lady Attavanti had left a woman's clothes for her brother, to wear as a disguise. He takes them up and turns to go, when the report of a cannon tells him that his flight from the fortress is discovered. With sudden resolution Cavaradossi decides to accompany the fugitive, to help him to escape from his terrible enemy.
In the next scene acolytes, scholars and singers enter the church tumultuously. They have heard that Napoleon has been defeated and all are shouting and laughing, when Scarpia, the chief of the Police enters in search of the fugitive. Turning to the sacristan he demands to be shown the chapel of the Attavanti, which to the amazement of the sacristan is found open. It is empty, but Scarpia finds a fan, on which he perceives the arms of the Attavanti, then he sees the picture and hears that Tosca's lover, Cavaradossi has painted it. The basket with food is also found, empty. During the discussion that ensues, Tosca enters, much astonished to find Scarpia here instead of her lover. The chief of the police awakens her jealousy by showing her the fan, which he pretends to have found on the scaffolding. Tosca, recognizing the arms of the Attavanti is goaded almost to madness by the wily Scarpia. When she departs three spies are ordered to follow her.
The second act takes place in Scarpia's luxurious apartments in an upper story of the Farnese palace.
Scarpia is expecting Tosca, who is to sing this evening at the Queen's festival. He has decided to take her for his Mistress, and to put her lover to death as well as Angelotti, as soon as he has got hold of both. Spoletta, a police-agent informs his chief, that he followed Tosca to a solitary villa which she left again, alone, very soon after she had entered it.
Forcing his way into the villa he had only found the painter Cavaradossi whom he had at once arrested and brought to the palace.
Cavaradossi who is now brought in, denies resolutely any knowledge of the escaped prisoner. When Tosca enters he embraces her, whispering into her ear not to betray anything she had witnessed in his villa.
Meanwhile Scarpia has called for Roberts, the executioner, and Mario is led into the torture chamber that adjoins Scarpia's apartment. Scarpia vainly questions Tosca about her visit to the villa; she assures him, that she found her lover alone. Then she hears her lover's groans, which are growing more fearful, the torture under Scarpia's directions being applied with more and more violence. In the intervals Mario however entreats Tosca to be silent, but at last she can bear no more, and gasps "In the well, in the garden." Scarpia at once gives a signal to stop the torture and Mario is carried in fainting and covered with blood. When he comes to himself he hears Scarpia say to Spoletta "In the well, in the garden," and thereby finds out that Tosca has betrayed the unfortunate prisoner. While he turns from her in bitter grief and indignation, Sciarrone enters and announces in the greatest consternation, that the news of victory have proved false, Napoleon having beaten the Italian army at Marengo. Mario exults in the defeat of his enemy, but the latter turns to him with an evil smile and orders the gendarmes to take him away to his death. Tosca tries to follow him, but Scarpia detains her. Remaining alone with him, she offers him all her treasures and at last kneels to him imploring him to save her lover. But the villain only shows her the scaffold which is being erected on the square below, swearing that he will only save her lover if she will be his. Tosca turns shuddering from him. Spoletta now enters to announce that Angelotti being found and taken has killed himself; and that Mario is ready for death.
Now at last Tosca yields, Scarpia promising to liberate her lover at the price of her honour. He suggests however that Mario must be supposed dead, and that a farce must be acted, in which the prisoner is to pretend to fall dead while only blank cartridges will be used for firing. Tosca begs to be allowed to warn him herself and Scarpia consents and orders Spoletta to accompany her to the prison at 4 o'clock in the morning, after having given the spy private instructions to have Mario really shot after all. Spoletta retires and Scarpia approaches Tosca to claim his reward. But she stops him, asking for a safe conduct for herself and her lover. While Scarpia is writing it Tosca seizes a knife from the table while leaning against it and hides the weapon behind her back. Scarpia seals the passport, then opening his arms he says: "Now Tosca, mine at last." But he staggers back with an awful scream; Tosca has suddenly plunged the knife deep into his breast. Before he can call for help, death overtakes him, and Tosca after having taken the passport from the clenched fist of the dead man turns to fly.
The third act takes place on the platform of the castle Sant' Angelo.
The gaoler informs Mario Cavaradossi that he may ask for a last favour having only one hour to live and the captive begs to be allowed to send a last letter of farewell to his fiancée. The gaoler assents, and Mario sits down to write, but soon the sweet recollections of the past overcome him. Tosca finds him in bitter tears, which soon give way to joy, when she shows him her passport, granting a free pass to Tosca and to the Chevalier who will accompany her.
When she tells him of the deadly deed she has done to procure it, he kisses the hands that were stained with blood for his sake. Then she informs him of the farce, which is to be acted, and begs him to fall quite naturally after the first shot, and to remain motionless until she shall call him. After a while the gaoler reminds them that the hour is over. The soldiers march up and Tosca places herself to the left of the guard's room, in order to face her lover. The latter refuses to have his eyes bandaged, and bravely stands erect before the soldiers. The officer lowers his sword, a report follows and Tosca seeing her lover fall sends him a kiss. When one of the sergeants is about to give the "coup de grace" to the fallen man Spoletta prevents him, and covers Mario with a cloak. Tosca remains quiet until the last soldier has descended the steps of the staircase, then she runs to her lover, calling to him, to rise. As he does not move, she bends down to him and tears the cloak off, but with a terrible cry she staggers back. Her lover is dead! She bewails him in the wildest grief, when suddenly she hears the voice of Sciarrone, and knows that Scarpia's murder has been discovered. A crowd rushes up the stairs with Spoletta at their head; the latter is about to precipitate himself upon Tosca, but she runs to the parapet and throws herself into space, with the cry: "Scarpia, may God judge between us!"