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©2003 Sugar Srl
Opera
in Three Acts
Music by Giacomo Puccini
Libretto by
Giuseppe Giacosa and Luigi Illica
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Characters:
Floria Tosca ........ Fiorenza Cedolins
a famous singer (soprano)
Mario Cavaradossi ........ Andrea Bocelli
a painter (tenor)
Il barone Scarpia .......... Carlo Guelfi
chief of police (baritone)
Cesare Angelotti .......... Ildebrando D'Arcangelo
a political prisoner (bass)
Il sagrestano .......... Matteo Peirone
sacristan, the caretaker of the church and its sacred
items (bass)
Spoletta ........... Sergio Bertocchi
a police agent (tenor)
Sciarrone .......... Diego Barretta
a policeman (bass)
Un carceriere ......... José Ignacio Ventura
a jailer (bass)
Un pastore .......... Matteo Ciccone
a shepherd (mezzo-soprano)
Orchestra e coro del Maggio Musicale Fiorentino
Conducted by Zubin Mehta
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| ACT I
SCENE:
Rome in 1800 - The Church of Sant' Andrea della Valle.
As the curtain rises, three somber
chords (always associated with Scarpia) are thundered out by the
orchestra, and we behold the high-vaulted interior of the Church of Sant'
Andrea. Angelotti enters, pale, disheveled, panic-stricken, in prison
garb. He barely has time to conceal himself before the Sacristan appears,
going about his duties. A moment later Cavaradossi appears, returning to
work. He has been painting a fair-haired, blue-eyed Madonna using for his
model an unknown worshiper in
the church whose beauty has
impressed him. He is unaware that she is the sister of his friend
Angelotti, and anyway his interest is purely artistic. Drawing from his
bosom a miniature of his beloved, the dark-eyed Tosca, he sings of the
strange manner in which the various features of her loveliness blend into
a harmonious whole, "Recondita armonia" ("What subtle harmony").
The Sacristan goes, after a
covetous glance at Cavaradossi's lunch basket. A moment later the
wild-eyed Angelotti appears, relieved at finding his old friend, who
promises him aid in escaping. Tosca is heard calling outside for her
"Mario." Cavaradossi gives the fugitive a few hurried
directions, and Angelotti
disappears, taking with him a woman's dress left as a disguise for him by
his sister.
Tosca enters. The
temperamental singer is angry at Mario's delay in admitting her and is
suspicious, having heard voices. The painter quiets her jealous fancies,
and they arrange to meet that evening. Tosca leaves, and Mario goes to aid Angelotti further his escape.
The members of the choir
enter, hurriedly preparing for a festival to celebrate Napoleon's defeat.
Their excitement is suddenly hushed at the entrance of Scarpia, the
dreaded chief of police. The escaped prisoner has been traced to the
church. A fan is discovered belonging to Angelotti‘s sister, and
overlooked by the prisoner in his haste, Tosca, still doubting her lover,
returns to church under some trivial pretext. She is greeted not by Mario,
but by Scarpia, who approaches her courteously. Flatteringly saying that
she comes to church devoutly, to pray, not like other women who come to
distribute their favors, Scarpia arouses her jealousy by showing her the
fan. Tosca becomes greatly excited and leaves the church, weeping. Scarpia
orders three of his agents to follow her. The cardinal and a great
procession now enter the church, advancing toward the high altar, and a
“Te Deum” is sung. The voices of the choir mount in sacred song, and
Scarpia, kneeling in mock devotion, can be heard muttering to himself
while he gloats over the anticipated destruction of his rival and the
moment when Tosca shall be his own. At this thought he joins with the
final magnificent outburst of the choir.
ACT II
SCENE: Scarpia’s
apartment in the Farnese Palace.
Scarpia restlessly awaits news of his
prey-Cavaradossi and Angelotti. Hearing Tosca‘s voice leading the choir
in a victory cantata sung in the Queen’s apartment nearby, he sends a
message to her, saying that he has received word of her lover. This, he
knows, will be bait enough for Tosca, tormented as she is with jealousy;
again Scarpia rejoices at thought of his conquest. Yet a moment later he
is angered, for Spoletta, his agent, brings word that Angelotti cannot be
found. He is quickly consoled however, on hearing that Cavaradossi has
been captured. The painter, when brought in, refuses to divulge
Angelotti‘s hiding place. Accordingly
he is consigned to the torture chamber-just as Tosca appears. Scarpia
greets her with an exaggerated courtesy, and bluntly tells her that her
lover is in next room being tortured; for each refusal the pain-producing
instrument is tightened. Tosca trembles with anxiety, and Scarpia
sadistically opens the door so that she may hear Mario’s stifled cries.
The artist urges her to reveal nothing. Scarpia bids her look at her
lover; one glance, and Tosca cries out in horror; even the hardened
Spoletta is appalled at the abominable proceedings. The ever-augmented
pain brings a fearful cry from Mario, and Tosca, no longer able to endure
this, tells Scarpia where Angelotti is hidden. Cavaradossi is then brought
in, still racked with pain, near fainting.
Suddenly word comes that the reported defeat of Napoleon was a
mistake; he was really the victor. Scarpia stands abashed, but Mario, in
spite of his weakness and Tosca’s whispered admonition to remain silent,
gives a shout of victory. The
enraged official orders Cavaradossi to prison and death. Scarpia replies to her impassioned prayer cynically, and at last in
desperation Tosca says that she will yield to his unholy demand if he will
rescind the order of execution and write a passport giving Mario and
herself safe-conduct to leave the country.
Scarpia is
overjoyed. He informs her that a mock execution will be necessary, summons
Spoletta for a moment to give him some secret instructions, then turns to
his desk to write the required papers. Meanwhile, Tosca surreptitiously
takes from the table a sharp knife and conceals it. Scarpia advances
toward her, overpowering in his triumph. He takes her in his arms; Tosca
drives the knife into his body, and he falls, crying for help with his
final breath. First, Tosca
washes the blood from her hands; then with grim reverence, she places
lighted candles at the head and a crucifix on the bosom of the corpse,
crosses herself, and steals noiselessly away.
ACT
III
SCENE: The
terrace of Castel’ Sant’ Angelo.
Mario is brought out from his cell to
the terrace of the Castle of S ant’ Angelo. The city is still in
darkness although the sound of sheep bells on the distant hillsides, the
song of a shepherd boy and then the clanging of the great bells in the
church tower announce the approach of dawn. Told by the jailer that he has
only one hour to live, Cavaradossi sings a touching farewell to his dreams
of art and to his beloved, recalling their former meetings on starlit
nights in quiet gardens, ”E lucevan le stelle” (“The stars were
shining”). He is suddenly
startled by the arrival of Tosca. She
tells him of the death of Scarpia, and he commends the gentle hands that
struck the blow, "O dolci mani" ("Oh, sweet hands") even though regretting that they should have had to be
soiled with the blood of such a scoundrel. The soldiers come, the shots of
the supposedly mock execution are fired, and Mario falls. Tosca, waiting
till the firing party has gone, bids him rise-“Now, Mario, all is
safe.” He does not answer. She rushes to him, stunned by the knowledge
that Scarpia has tricked her. Mario
is dead. She throws herself on the body in an agony of grief. Spoletta and
the soldiers approach to seize her as Scarpia’s murderer. Before they
realize her intention she evades them, quickly climbs the parapet of the
castle, and leaps to freedom and death. The orchestra thunders out “E
lucevan le stelle.”
From
"The Victor Book of the Opera" 13th Edition © 1929, 1949, 1953,
1968
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First performance: January 14,
1900
Teatro Costanzi,
Rome
Cast:
Floria Tosca ..... Hariclea Darclée
Mario Cavaradossi ..... Emilio De Marchi
Scarpia ..... Eugenio Giraldoni
Cesare Angelotti ..... Ruggero Galli
Sagrestano ..... Ettore Borelli
Spoletta ..... Enrico Giordano
Sciarrone ..... Giuseppe Gironi
Carceriere ..... Aristide Parassani
Pastore ..... Angelo Righi
The first Tosca, Cavaradossi, and Scarpia (L to R
clockwise): Hariclea Darclée, Emilio De Marchi, Eugenio Giraldoni
The original cast was to have included Enrico Caruso as Cavaradossi, but De
Marchi won the role because Darclée was his
mistress. And Corriere
della Sera reports that she and Puccini had also been
lovers.
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Enrico Caruso as Cavaradossi
with the first sacristan, Ettore Borelli
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Franco Corelli as Cavaradossi
and Birgit Nilsson as Tosca
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Raina Kabaivanska as Tosca
and Luciano Pavarotti as Cavaradossi
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Andrea Bocelli as Cavaradossi
and Fiorenza Cedolins as Tosca
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Recondita armonia
Recondita armonia di bellezze diverse!
È bruna Floria, l’ardente amante mia,
e te, beltade ignota
cinta di chiome bionde!
Tu azzurro hai l’occhio
Tosca ha l’occhio nero!
L'arte nel suo mistero
le diverse bellezze insiem confonde:
ma nel ritrar costei
il mio solo pensiero,
ah! il mio sol pensier sei tu!
Tosca, sei tu! |
What subtle harmony
What subtle harmony of different beauties!
Floria, my passionate lover is a brunette
and you, unknown beauty,
are framed by fair hair
you have blue eyes
Tosca has dark eyes
the mysterious art
mixes the different beauties together:
but while I paint her
I only think
Ah! I only think of you
Tosca, of you! |
Act 1 duet
Tosca
Mario! Mario! Mario!
Cavaradossi
Son qui!
Tosca
Perché chiuso?
Cavaradossi
Lo vuole il Sagrestano...
Tosca
A chi parlavi?
Cavaradossi
A te!
Tosca
Altre parole bisbigliavi.
Ov'è?...
Cavaradossi
Chi?
Tosca
Colei!... Quella donna!...
Ho udito i lesti
passi ed un fruscio di vesti...
Cavaradossi
Sogni!
Tosca
Lo neghi?
Cavaradossi
Lo nego e t'amo!
Tosca
Oh! Innanzi alla Madonna...
No, Mario mio,
lascia pria che la preghi, che l'infiori...
Ora stammi a sentir -
stasera canto,
ma è spettacolo breve. - Tu m'aspetti
sull'uscio della scena
e alla tua villa andiam soli, soletti.
Cavaradossi
Stasera!
Tosca
È luna piena
e il notturno effluvio floreal
inebria il cor!
Non sei contento?
Cavaradossi
Tanto!
Tosca
Tornalo a dir!
Cavaradossi
Tanto!
Tosca
Lo dici male, lo dici male.
Non la sospiri la nostra casetta
che tutta ascosa nel verde ci aspetta?
Nido a noi sacro,
ignoto al mondo inter,
pien d'amore e di mister?
Al tuo fianco sentire
per le silenziose stellate ombre,
salir le voci delle cose!
Dai boschi e dai roveti,
dall'arse erbe,
dall'imo dei franti sepolcreti
odorosi di timo,
la notte escon bisbigli
di minuscoli amori
e perfidi consigli
che ammolliscono i cuori.
Fiorite, o campi immensi,
palpitate, aure marine,
aure marine nel lunare albor,
ah, piovete voluttà, volte stellate!
Arde a Tosca folle amor!
Cavaradossi
Ah, mi avvinci nei tuoi lacci
mia sirena!
Tosca
Arde a Tosca nel sangue folle amor!
Cavaradossi
Mia sirena, verrò!
Tosca
O mio amore!
Cavaradossi
Or lasciami al lavoro.
Tosca
Mi discacci?
Cavaradossi
Urge l'opra, lo sai!
Tosca
Vado, vado!
Chi è quella donna bionda
lassù?
Cavaradossi
La Maddalena. Ti piace?
Tosca
È troppo bella!
Cavaradossi
Prezioso elogio!
Tosca
Ridi?
Quegli occhi cilestrini già li vidi.
Cavaradossi
Ce n'è tanti pel mondo!
Tosca
Aspetta... Aspetta...
E l'Attavanti!...
Cavaradossi
Brava!...
Tosca
La vedi?
T'ama?
Tu l'ami?... tu
l'ami?
Cavaradossi
Fu puro caso...
Tosca
Quei passi e quel
bisbiglio...
Ah! Qui stava pur ora!
Cavaradossi
Vien via!
Tosca
Ah, la civetta!
A me, a me!
Cavaradossi
La vidi ieri, ma fu puro caso...
A pregar qui venne...
Non visto la ritrassi.
Tosca
Giura!
Cavaradossi
Giuro!
Tosca
Come mi guarda fiso!
Cavaradossi
Vien via!
Tosca
Di me beffarda, ride.
Cavaradossi
Follia!
Tosca
Ah, quegli occhi!...
Cavaradossi
Quale occhio al mondo può star di paro
all'ardente occhio tuo nero?
È qui che l'esser mio, che l'esser mio
s'affisa intero.
Occhio all'amor soave, all'ira fiero!
Qual'altro al mondo può star di paro
all'occhio tuo nero?
Tosca
Oh, come la sai bene
l'arte di farti amare!
Ma, falle gli occhi
neri!
Cavaradossi
Mia gelosa!
Tosca
Sì, lo sento.
Ti tormento senza posa.
Cavaradossi
Mia gelosa!
Tosca
Certa sono del perdono...
Cavaradossi
Mia gelosa!
Tosca
Certa sono del perdono
se tu guardi al mio dolor!
Cavaradossi
Mia Tosca idolatrata,
ogni cosa in te mi piace;
l'ira audace
e lo spasimo d'amor!
Tosca
Certa sono del perdono
se tu guardi al mio dolor!
Dilla ancora
la parola che consola...
Dilla ancora!
Cavaradossi
Mia vita, amante inquieta,
dirò sempre: "Floria, t'amo!"
Ah! l'alma acquieta,
sempre "t'amo!" ti dirò!
Tosca
Dio! quante peccata!
M'hai tutta spettinata!
Cavaradossi
Or va, lasciami!
Tosca
Tu fino a stassera stai fermo al lavoro.
E mi prometti:
sia caso o fortuna,
sia treccia bionda o bruna,
a pregar non verrà donna nessuna!
Cavaradossi
Lo giuro, amore!... Va!
Tosca
Quanto m'affretti!
Cavaradossi
Ancora?
Tosca
No - perdona!...
Cavaradossi
Davanti alla Madonna?
Tosca
È tanto buona!
Ma falle gli occhi neri! |
Mario!
Mario!Mario!
I'm here.
(With a pretence of calm he opens the door to
Tosca. She rushes in
abruptly, looking around with
suspicion. Cavaradossi tries to
embrace her but
she pushes him away roughly.)
Why was it locked?
The sacristan wanted it...
Who were you talking to?
To you.
You were whispering other words.
Where is she?
Who?
Her! That woman!
I heard her hurried step
and the rustling of her clothes.
You're dreaming!
Do you deny it?
I deny it and I love you!
(He tries to kiss her.)
Oh! In front of Our Lady
No, Mario. Let me pray to her first
and offer her these flowers.
(She goes up to the statue of Our Lady and around it
tastefully arranges
the flowers which she has
brought with her. She kneels and prays
devoutly
then, crossing herself, she stands up. Cavaradossi
has gone
back to his work.)
Now listen: I'm singing this evening.
but the performance will be short.
Wait for me at the stage door
and we'll go off to your villa together.
(Lost in thought) This evening?
It's a full moon
and the scent of flowers by night
enraptures our hearts.
Aren't you pleased?
(Distracted) Very.
Say it again!
Very!
Don't say it like that.
Don't you sigh for our little house
waiting for us, hidden among the trees?
Our sacred love-nest,
unknown to the whole world,
full of love and mystery.
Oh, to be by your side,
in the silent starry dusk,
listening to the voices of nature!
From the woods and bushes,
from the scorched grass,
from the depths of ruined tombs
scented with thyme,
at night whispers are heard
of tiny loves,
unfaithful counsels
that soften the heart.
Flower, broad meadows,
rustle, sea breezes,
sea breezes in the pale moonlight;
ah, shower down desire, starry vaults!
Tosca is on fire with a mad love!
Ah, you have caught me in your snare,
my siren!
A mad love is burning in Tosca's blood!
I will come, my siren!
My love!
Now leave me to my work.
Are you chasing me away?
You know my work is urgent.
I'm going! I'm going!
(She moves a little away from Cavaradossi, then,
turning around to
look at him, she sees the painting
and rushes back to him.)
Who is that blonde woman up there?
Mary Magdalene. Do you like it?
She's too beautiful!
A rare compliment!
You're laughing?
I've seen those blue eyes before.
There are plenty in this world!
Wait, wait...
It's Marchesa Attavanti!
Well done!
Are you seeing her?
Is she in love with you?
Do you love her?
It was pure chance.
Those footsteps, and that whispering.
Ah, she was here just now!
Oh, come now!
That flirt!
To do this to me, to me!
I saw her yesterday, but only by chance.
She came here to pray...
And unseen, I painted her.
Swear it!
I swear it!
How she stares at me!
Come now!
She's mocking me, laughing at me.
Madness!
Ah, those eyes!...
What eyes in this world could compare
with your passionate dark eyes?
That is where my whole being is centered.
Eyes that are soft in love, bright in anger.
What other eyes in the world could compare
with your dark eyes?
(leaning her head on his shoulder)
Oh, how well you know
the art of winning love!
But, make her eyes dark!
My jealous one!
Yes, I feel it.
I am always tormenting you.
My jealous one!
I know I'll be forgiven.
My jealous one!
I know I'll be forgiven
if you see my grief.
My adored Tosca,
I love everything about you;
your fearless anger
and your aching love!
I know I'll be forgiven
if you see my grief.
Say them again,
those comforting words,
say them again!
My life, my restless love,
I shall always say "Floria, I love you!"
Ah, calm you soul,
I shall always say "I love you!"
(freeing herself from him)
Goodness! How sinful!
You've completely ruined my hair.
Now, off, leave me!
Stay at your work until this evening.
And promise me,
whether by chance or luck
whether blonde or brunette,
no woman will come to pray.
I swear it, my love! ... Go!
How you hurry me!
Again?
(falling into his arms)
No, forgive me!...
In front of Our Lady?
She is so good!
(They kiss.)
But make her eyes dark!
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E lucevan le stelle…
E lucevan le stelle… ed olezzava
La terra… stridea l’uscio
Dell'orto… e un passo sfiorava la rena..
Entrava ella, fragrante,
Mi cadea fra le braccia ...
Oh dolci baci, o languide carezze,
Mentr’io fremente
La belle forme discioglea dai veli!
Svani per sempre il sogno mio d'amore ...
L’ora el fuggita ...
E muoio disperato!
E non ho amato mai tanto la vita! |
And the stars were shining…
And the stars were shining… the earth
was fragrant… the garden gate
creaked… and a footstep brushed the sand.
She entered, fragrant,
and fell into my arms ...
Oh sweet kisses, oh languid caresses
and I, quivering,
unveiled those beautiful shapes!!!
Disappeared forever my love's dream
The hour is gone...
And I, desperately, die!
And I've never loved so much my life |
O dolci mani
O dolci mani mansuete e pure,
o mani elitte a bell'opre pietose,
a carezzar fanciulli, a coglier rose,
a pregar, giunte per le sventure.
Dunque in vio, fatte dall'amor secure,
giustizia le sue sacre armi depose?
Voi deste morte, o man vittoriose,
o dolci mani mansuete e pure! |
Oh, sweet hands
Oh, sweet hands, gentle and innocent,
hands that were chose to do holy works,
to embrace children, to pluck roses,
to come together to pray for the unfortunate.
Did justice, then, entrust his sacred weapons
into these hands, made bold by love?
You dealt death, victorious hands,
Oh, sweet hands, gentle and innocent! |
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