Tosca (Overture Opera Guides) 1847495389, 9781847495389

Table of contents :
Contents
Manifest Artifice
The Music of Puccini’s Tosca
Historical Perspectives on Tosca
Thematic Guide
Tosca
ACT ONE
ACT TWO
ACT THREE
Select Discography
Tosca on DVD
Select Bibliography
Puccini Websites
Note on the Contributors
Acknowledgements

Citation preview

overture opera guides in association with

The publisher John Calder began the Opera Guides series under the editorship of Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventually included forty-eight titles, covering sixty-six operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the meaning of the original. New guides of operas not already covered will be published alongside the redesigned ones from the old series. Gary Kahn Series Editor

Tosca Giacomo Puccini

Overture Opera Guides Series Editor Gary Kahn Editorial Consultant Philip Reed Head of Publications, ENO

OP OVERTURE

overture opera guides in association with

Overture Publishing an imprint of oneworld classics

London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom The articles by Bernard Williams, Bernard Keeffe and Stuart Woolf first published by John Calder (Publishers) Ltd in 1982. This Tosca Opera Guide first published by Overture Publishing, an imprint of Oneworld Classics Ltd, 2010. © Oneworld Classics Ltd, 2010 Libretto and translation supplied by EMI Classics and reprinted by kind permission. Cover image: T.P. / Lebrecht Music & Arts Printed in United Kingdom by TJ International, Padstow, Cornwall isbn:

978-1-84749-538-9

All the material in this volume is reprinted with permission or presumed to be in the public domain. Every effort has been made to ascertain and acknowledge the copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher.

Contents List of Illustrations Manifest Artifice, Bernard Williams The Music of Puccini’s Tosca, Bernard Keeffe Historical Perspectives on Tosca, Stuart Woolf Thematic Guide

8 9 17 29 37

Tosca Libretto Act One Act Two Act Three

43 45 93 141

Discography Tosca on DVD Bibliography Puccini Websites Note on Contributors Acknowledgements

159 161 163 164 165 165

List of Illustrations

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25.

Giacomo Puccini in 1900 (T.P. / Lebrecht Music & Arts) Puccini with Giuseppe Giacosa and Luigi Illica (Lebrecht Music & Arts) Victorien Sardou (Eugenio Corret) Cover of libretto (Biblioteca del Centro Studi Giacomo Puccini) Poster for first production (Richard Bebb Collection / Lebrecht Music & Arts) Hariclea Darclée (Lebrecht Music & Arts) Emilio de Marchi (Richard Bebb Collection / Lebrecht Music & Arts) Eugenio Giraldoni (Richard Bebb Collection / Lebrecht Music & Arts) Enrico Caruso (ArenaPAL) Claudia Muzio (Metropolitan Opera Archives / Lebrecht Music & Arts) Geraldine Farrar (Metropolitan Opera Archives / Lebrecht Music & Arts) Maria Jeritza (Metropolitan Opera Archives / Lebrecht Music & Arts) Zinka Milanov and George London (Metropolitan Opera Archives) Magda Olivero and Silvano Carroli (Bob Smith and Laura Garza / Dallas Opera) Ljuba Welitsch and Paul Schöffler (Rudolf Pittner / Wiener Staatsoper) Renata Tebaldi and Paolo Silveri (Erio Piccagliani / La Scala, Milan) Maria Callas and Tito Gobbi (Donald Southern / Royal Opera House) Plácido Domingo and Éva Marton (Jim Caldwell / Houston Grand Opera) Luciano Pavarotti and Montserrat Caballé (Metropolitan Opera Archives) Josephine Barstow and Neil Howlett (Clive Barda / English National Opera) Rosalind Plowright (Henrietta Butler / Getty Images) Angela Gheorghiu and Ruggero Raimondi (Axiom Films) Tosca at the Bregenz Festival (Friedrich Böhringer) Amanda Echalaz (Fritz Curzon) Susannah Glanville and Jeremy Peaker (Robert Workman)

1. Giacomo Puccini in 1900, the year of Tosca’s premiere.

2. Puccini with Giuseppe Giacosa and Luigi Illica, librettists of La bohème, Madama Butterfly and Tosca (above); 3. Victorien Sardou, author of La Tosca, the play on which the opera was based (below).

4. Cover of the libretto published by G. Ricordi & Co. for the first production.

5. Poster for the fourth performance of the first production (top left). The original cast: 6. Hariclea Darclée as Tosca (top right); 7. Emilio de Marchi as Cavaradossi (bottom left); 8. Eugenio Giraldoni as Scarpia (bottom right).

9. Enrico Caruso as Cavaradossi (top left). Three famous Toscas from the early twentieth century: 10. Claudia Muzio (top right); 11. Geraldine Farrar (bottom left); 12. Maria Jeritza (bottom right).

Toscas and Scarpias after World War II: 13. Zinka Milanov and George London at the Met in 1955 (top left); 14. Magda Olivero and Silvano Carroli at Dallas Opera in 1974 (top right); 15. Ljuba Welitsch and Paul Schöffler at the Wiener Staatsoper in 1956 (below).

16. Renata Tebaldi, regarded by many as the main rival to Callas’s post-war pre-eminence as Tosca, with Paolo Silveri as Scarpia at La Scala, Milan in 1954.

17. Maria Callas as Tosca with Tito Gobbi as Scarpia at the Royal Opera House in the Franco Zeffirelli production of 1964. The BBC televised Act Two and the performance has acquired legendary status.

18. Plácido Domingo as Cavaradossi with Éva Marton as Tosca at Houston Grand Opera in 1984.

19. Luciano Pavarotti as Cavaradossi with Montserrat Caballé as Tosca at the Met in 1985.

20. Josephine Barstow as Tosca and Neil Howlett as Scarpia in Act Two of Jonathan Miller’s 1986 ENO production, designed by Stefanos Lazaridis and inspired by Roberto Rossellini’s 1945 film Rome Open City.

21. Rosalind Plowright as Tosca, having killed Scarpia, acknowledging the applause of an imaginary audience at the end of Act Two. Keith Warner’s 1994 production for ENO, designed by John Conklin.

22. Angela Gheorghiu as Tosca and Ruggero Raimondi as Scarpia in Benoît Jacquot’s 2002 film (above); 23. The building of the Floating Stage Tosca set on the shores of Lake Constance, designed by Johannes Leiacker, for the 2007 Bregenz Festival (below).

24. Tosca’s last moments from a twenty-first century production: Amanda Echalaz’s self-immolation at Opera Holland Park in 2008, directed by Stephen Barlow and designed by Yannis Thavoris.

25. Tosca’s last moments in another twenty-first-century production: Susannah Glanville, about to be shot by Sciarrone (Jeremy Peaker), for Opera North in 2009, directed by Christopher Alden and designed by Charles Edwards.

Manifest Artifice Bernard Williams The criticism of operas, as distinct from the criticism of per­ formances, is still not a very developed activity. In so far as it exists, it has tended to concentrate on discussing the music, rather than operas as dramatic and musical wholes. The fact that there is not much serious criticism of Puccini’s operas is not, therefore, necessarily surprising. But such criticism as there is has tended to be hostile or contemptuous, and I suspect that, in this particular case, the lack of serious comment is itself a comment. Puccini is not taken entirely seriously. At the same time, several of his works are, of course, tirelessly successful with the public, and this is not hard to explain: they are, at their best, immensely and almost indestructibly effective. This fact is sometimes used as a humbling rejoinder to critical doubt – ‘so there’. In itself, it is not enough of a rejoinder, but it raises a demand, at least, for more understanding. We perhaps tend to assume too easily that we understand Puccini, the character of his work and his place in the history of opera. In fact, he is not easy to place. It is not obvious, for instance, what comparisons are useful to make with him. If one merely looks around him, to Leoncavallo, or Mascagni, or Giordano, he of course stands out, and his powers of lyrical invention seem magical. If one looks back to Verdi, Puccini becomes a small figure – but then not only was Verdi a great genius, but it was inconceivable that after him anyone could achieve anything of similar scale in Italian opera. More interestingly, one can look sideways, to Richard Strauss, and indeed there is enough stylistically in common for a certain . Since this article was written in 1982, Puccini has been the subject of more sustained scholarly examination [Ed.].



tosca

kind of tired lyricism to be called the ‘Puccini-Strauss’ style. But they had very different aims and origins. In Italian opera, there was still such a thing as straightforward popular success, and Puccini aimed at it; while Strauss, as a German composer after Wagner, wrote orchestrally complex operas to expressionist or symbolic texts, as well as being a composer of ‘serious’ music outside the opera house. Strauss was, almost by definition, a more ‘serious’ composer than Puccini. But it is far from clear that as an opera composer he should therefore be taken more seriously. Such comparisons in fact effect nothing until one has taken a closer look at what Puccini tried to do and the individual musico-dramatic methods that he employed. Puccini is no doubt a limited artist, but his limitations, and the failings of his works, are themselves markedly individual. Tosca is at the centre of the problem of getting a clear and balanced view of Puccini. Of all his pieces it is one of the most famous for its theatrical effect. It is also distinctly nasty, in a way which helps to bring out critical hostility; in fact, it defines a central form of hostility towards the composer, since the touch of nastiness is typical of him, and Tosca presents the best organized example of it. Butterfly is also nasty (particularly in the first version, which failed and which was not revived until the 1970s), but it is much more sentimental, and the overall effect is of pathos rather than cruelty. Turandot is even more sadistic than Tosca – to the extent that, to permit the torture of Liù, the hero’s behaviour has to be made barely intelligible – but it is musically more ambitious, and it has the undoubted appeal that it defeated him: for once, Puccini was not so insufferably on top of it all. Tosca is not perfect, even in its own terms, and it is more flawed, perhaps, than La bohème. ‘Vissi d’arte’ (‘I lived for art’) is not a very interesting piece which, as Puccini himself later came to feel, holds up the action. In Act Three, Cavaradossi’s nostalgic solo before the denouement, ‘E lucevan le stelle’ (‘And the stars shone’), leaves a desultory impression and seems not to contribute enough to the significance of the action. I suspect that in part this is because, like some other Puccini tenor arias – ‘Nessun dorma’ (‘None shall sleep’) in Turandot is an obvious example – it is simply too short, and makes the effect of one shouted sentence rather than any revelation of character. 10

manifest artifice

The words of this aria replaced, at Puccini’s insistence, a heroic set of reflections on life and art which, we are told, attracted Verdi’s favourable attention when he was shown the libretto. Puccini found that he could do nothing with these, and set instead a reverie on past love-making. That fact in itself is not the cause of the weakness of the scene. Puccini is writing a different kind of work, and in some ways a more modern work, than any to which those heroic reflections would have been appropriate. Cavaradossi, like some other Puccini characters, is a man of softly impressionable sexuality – qualities already clearly expressed at the beginning of his opera in the aria addressed to his painting, ‘Recondita armonia’ (‘Oh, hidden harmony’). He seems to be a revolutionary hero largely by accident, and his involvement in the action is a good deal more personal than political. Even more striking than ‘E lucevan’ in this direction is his reaction to Tosca’s telling him that she has murdered Scarpia: he comes out with the sentimental and very pretty ‘O dolci mani’ (‘Oh, sweet hands’), which sweetly turns its back on anything that such a murder might mean. These pieces weaken the third act, as his publisher, Giulio Ricordi, indeed complained. They do so not because they are personal and sexual rather than political, but because they do not move anything forward or contribute any further dimension to what is going to happen. Especially in relation to Puccini’s insistence on compressed and rapid action (which he got, presumably, from Verdi), these static moments can seem simply opportunistic – particularly since ‘O dolci mani’ has one of those Puccini melodies that encourages tenors and conductors to reckless amounts of rubato. There are, then, weaknesses in Tosca, even in terms of Puccini’s own conception of how it should work. But the interesting thing about Tosca lies in its suspect strength, in the fact that not only is it operatically successful, but that it is a fundamental example of operatic success. It thus raises a question, not just about Puccini and the special character of his achievement, but about the nature of opera itself. There are a few basic ways of being excited and held by the operatic stage. The trio in the last act of Rosenkavalier represents one, and ‘Di quella pira’ (‘That horrible blaze’) in Il trovatore another. Tosca at its best displays several. The end of Act One, for 11

tosca

instance, with its mounting excitement and its superimposition of a great dark baritone declamation onto the rhythm of a tolling bell and religious ritual, is a splendid example of something that real opera lovers really love. Tosca’s continuous success with the public is not a mere triumph of bad taste or a result of contemporary associations, as has been the case with certain works of Meyerbeer, or Gounod, or Menotti. What is compelling in Tosca has direct connections with what is compelling in greater operas. It is hard to think of a parallel to this in non-musical drama. Leaving aside questions of the limitations of his purely musical invention, the critical response to Puccini lies principally in the conviction that there is something manipulative or cynical about his work. That conviction is, in my view, basically right. But that leaves the problem, since these manipulative works resemble, in their capacity to hold us, operas which have no such faults. If opera is at all a serious business, how can this be? This is the question about Puccini, and its answer lies in what it is like to experience opera. W.H. Auden once said, ‘In a sense, there can be no tragic opera’, because singing itself is too evidently a free and enjoyable activity: ‘the singer may be playing the role of a deserted bride who is about to kill herself, but we feel quite certain as we listen that not only we, but also she, is having a wonderful time.’ Auden’s remark reminds us that the enjoyment of opera – and it is particularly true of Italian opera – grows tightly round enjoyment of a technique, a manifest technique. Here there is an interesting comparison, and an important difference, with conventions of the non-operatic stage. When people who do not care for opera and know nothing about it ridicule the convention of conversation in song, it is right to remind them of other theatrical conventions, in particular the convention of conversation in blank verse, which they may be less inclined to reject. In watching Shakespeare, one indeed appreciates it as verse – at least, if the director allows one to. Excitement, tension, involvement are generated by that verse, and by its being verse, but in the opera house, it goes further than this. It is not only song, and the fact that it is song, that generates excitement, but the singer. At a fine operatic performance, we . ‘Notes on Music and Opera’ in The Dyer’s Hand (London: Faber, 1963), p. 468. Auden agreed, however, that opera can be the ideal vehicle for ‘tragic myth’. See also ‘The World of Opera’ in his Secondary Worlds (London: Faber, 1969).

12

manifest artifice

are conscious of the singer’s achievement and of the presence of physical style and vitality, and the sense of this reinforces the drama itself. A concrete feeling of performance and of the performers’ artistry is nearer the front of the mind than in other dramatic arts. It is because of this that outbreaks of applause (if not, these days, the granting of encores) can be appropriate, as they scarcely could be with a play, even one in verse. Puccini’s immense success is connected with the fact that the pleasures of opera, particularly in the Italian style, are in any case involved with an obvious and immediately presented artifice. He was of course ingenious (Toscanini said: ‘Puccini is clever, but only clever’), and he was greatly gifted in the creation of theatrical atmospheres and gestures – atmospheres and gestures which announce themselves as theatrical. In Act One of Tosca, the threatening arrival of Scarpia is synchronized with the climax of the horseplay between the Sacristan and the choirboys, in a way which precisely draws attention to itself as a musical and dramatic device. Similarly, the opening of the third act offers a complex and sophisticated texture of bells and a shepherd boy’s song which heightens the tension for what is to follow. These effects heighten it in a specially self-conscious and indirect way – by making one conscious all the time that this has been conceived as a preparation for what is to follow. Again, in the second act, Scarpia’s arrangement of his treachery gives pleasure through the very theatricality with which it is displayed. His instructions to Spoletta tell him, but not Tosca, that the execution of Cavaradossi is to be only a pretended fake, that the ‘simulated’ killing is to be a real one. ‘As we did with Count Palmieri’, says Scarpia, more than once: ‘You understand?’ ‘Yes,’ replies Spoletta, as he leaves, ‘like Palmieri.’ It is appropriate that the subject of this should be a double falsehood, a pretence of a pretence. It is not simply a device of dramatic irony, which puts us into complicity with them against Tosca. It puts us into a complicity with that device itself, with a certain tradition of theatrical effect, and it is in seeing the wheels of artifice turn that we enjoy it. The idea which Puccini carries further than any other opera composer is that of securing an effect through the audience’s consciousness that that is what he is doing. In exploiting this idea, he transfers to the level of musical and dramatic invention 13

tosca

something that is always inherent, to some extent, in opera and the performance of opera; and that is why one can acknowledge the truth of his talent to the nature of opera. That acknowledged display of artifice, which is Puccini’s most characteristic device, is not of course enough to secure his popularity. For that he needed, what he outstandingly had: melodic gifts, orchestral ingenuity, a sense of atmosphere and a talent for compression. But, granted all that, the peculiarity of his talent does specially define the nature of the popularity that he achieved. In particular, it affects what it is like to see one of his operas with which one is already familiar. With a very great work, to hear it for the twentieth time gives the chance, not just to hear something one has missed, but to understand something new. That is not the point with Puccini, and everybody knows that it is not the point. The aim is, rather, to see him do the trick again; the better one knows the whole thing, and the more familiar the trick, the greater the pleasure, just because the pleasure lies in complicity with his artifice. One enjoys the entry of Scarpia very much more when it is not a surprise – that is to say, when one is not actually surprised by it, but rather knowledgeably looks forward to the effect of the surprise. It is sometimes held against Puccini’s operas that they are melodramatic, but that is certainly not the notable or exceptional thing about them. As the word itself implies, it is hard for operas of strong action to be anything else, and many operatic masterpieces are melodramatic: Rigoletto, for instance – or, in good parts, Fidelio. The special characteristic of Puccini’s operas is that they are manipulative – that in place of the direct address of these two works, for instance, or indeed of any work of Verdi’s, there is a calculated, and indeed displayed, contrivance to produce a certain emotional effect. The highly conscious and self-referential character of his method is a very modern feature of Puccini’s work, and he could not have stood anywhere but at the end of the tradition of Italian opera, extracting the last drops from it by the method of openly exploiting our consciousness of the ways in which it produced its effects. At the same time, what is achieved through this sensibility is limited – or at any rate defined – by a certain lack of expressive ambition, both musically and dramatically. In his use of swift narration, 14

manifest artifice

schematic characters and deftly indicated moods, together with his self-conscious exploitation of familiar conventions, Puccini is a cinematic artist, and some of the most natural comparisons that his works invite are with films. Use of a popular melodic style and the conventional directness of his narrative invite comparisons not with ‘art’ films of, say, German Expressionism, but with the finest products of the Hollywood studios in their best days – which indeed, like Puccini, learnt some of their technique from more ambitiously innovative artworks. It would be a mistake to take this as an insult to Puccini: these films are so excellent that the comparison gives no reason to underestimate his operas, but merely offers a better perspective from which to enjoy them. Like many good Hollywood film-makers, moreover, Puccini found it natural to use distant, unreal or fantasy subject matter. In this his operas also resemble, of course, many other operas. But in Puccini’s case, something special is effected by the choice of subject matter. The fact that most of Verdi’s works are remotely placed (with the famous, and at first disastrous, exception of La traviata), and that Wagner’s are often placed nowhere at all, imposes in itself no limit on their power or honesty or significance. But in Puccini’s case, there is something suspect about the exoticism of the oriental pieces, and the fanciful quality of La bohème’s Parisian life. They provide an element of distancing, a way in which the work can be exciting or touching without being disturbing. Hollywood constantly uses such methods, though it could also – in some of the crime films, for instance – go beyond them. Here again, Tosca is the central and the test case. Tosca is, in fact, the exception, the one really twentieth-century subject among Puccini’s major works. It is totally unimportant that it is set in Napoleonic times. It really asks to be set in this century, above all in Mussolini’s Italy, with Scarpia as a Fascist boss. Many things in the opera fit such a time and such a regime, including the character of the villain. Scarpia’s corruption, and the sense, which I have already mentioned, that Cavaradossi is a man with other interests who got into it all by accident, conspire to make the torture scene more a psycho-sexual event than anything political, and this is a recognizably modern motif, of a kind inconceivable, certainly, in Verdi. 15

tosca

Yet it is just here, where Puccini gets close to a disturbing reality, that his method of exploiting the traditions of Italian opera rather than transforming them ceases to work, and the displayed artifice stops being any longer an acceptable source of pleasure. He was very skilful, for the most part, in avoiding that situation, by taking an exotic or fanciful subject matter or very schematically indicated situations of horror or pathos. (It is ironical that verismo should be the name given to some of these devices.) A danger always lay for him in the real strength of his fascination with violence, what he himself called his ‘Neronic instinct’. In some cases, notably La fanciulla del West, he channelled it in a direction of schematic fantasy which leaves room for his devices to work. In at least one case – parts of Turandot – the obsession rises above the devices. In the second act of Tosca, however, his sadistic imagination pulls too strongly on what is indeed one of his most carefully structured pieces of artifice. The effect is one that many have found disturbing and disagreeable, and much more so than in some other operas which contain, in terms of their action, equally brutal material. The careful placing of Cavaradossi’s off-stage cries gets its effect, like the earlier use of Tosca’s off-stage concert, once more through the consciousness of the artifice: the music invites us to hear the effect being created. But the tension has been significantly raised: Scarpia is enough of a figure, the subject is close enough to reality, for pleasure not to run easily through such craftily constructed channels. Puccini’s best efforts come through the manifest use of feeling, of circumstance and of the audience; police torture, if we get near enough to an adequate representation of it, cannot be used in this way. That there should be something nasty at the centre of Tosca is the result of Puccini’s method when it goes beyond the bounds of what it can handle. The method is a special and very effective invention, and it has a powerful appeal which is rooted in the traditions of Italian opera and indeed in the basic experience of its performance. But the method cannot deal with a genuinely threatening content, and when it fails, the spectator’s revulsion is considerable, for we feel ourselves not only exploited but an accomplice in our own exploitation. Tosca is remarkable in providing some of the most striking achievements of Puccini’s artifice, and also the most unnerving display of its limitations. 16

The Music of Puccini’s Tosca Bernard Keeffe In 1924 Cecil Gray wrote: ‘No living composer is more despised and execrated by the leaders of musical opinion in every country than Puccini.’ Some thirty years later an American professor dismissed Tosca as a ‘shabby little shocker’. Cecil Gray was a composer as well as a writer, and it is perhaps cruel to mention that his operas are unperformed and forgotten. The academic may find in Tosca little evidence of macrotonality, but even he surely must admit that for more than eighty years Puccini’s operas have filled the seats of the world’s theatres and erased the red ink in many a balance sheet. Continuing success may not be everything but, like money, it does help, and might persuade us that Puccini was after all a genius. I believe that within its terms of reference Tosca is a masterpiece. It is a shocker, certainly, but much more, and there is no doubt that its impact derives from the music. If you doubt this, ask yourself why the play upon which it is based has long ago disappeared from the stage, and name an opera which has survived on the strength of the story alone. Even Cecil Gray had to confess that in the theatre Puccini’s magic worked, and it is in the theatre, not in the study, that his music must be judged. Puccini once said that God touched him with his little finger and ordered, ‘Write only for the theatre’. He willingly obeyed and added that he could compose only when he could see his creations before his mind’s eye moving, gesturing and singing ‘in the great window of the stage’. He often composed at night, and in the silence of his darkened room used to laugh at their joys and their passionate love affairs, then condemn them to death and weep, literally weep, at . Joseph Kerman, Opera as Drama (New York: Alfred A. Knopf, 1956).

17

tosca

their dying phrases. For this he needed characters and situations into which he could pour his archetypal musical expression, which acted directly on the emotions of his audience. The play La Tosca by the French dramatist Victorien Sardou offered just such a subject, and Puccini had cast longing eyes at it for several years. He was not alone: Verdi admired it and had said that if he had been younger he would gladly have set it to music. Alberto Franchetti, a minor contemporary of Puccini’s, even went so far as to get Sardou’s consent to his commissioning a treatment from Luigi Illica, one of Puccini’s librettists for Manon Lescaut and La bohème. Illica mentioned this to Puccini and was prompted to persuade Franchetti, with surprisingly little difficulty, to give up his plans. This was the third time that Puccini had thumbed his nose at a rival and the fourth time that he had gone to French literature for his subject. Edgar (1889) had been based on a play by Alfred de Musset, Manon Lescaut (1893) on the novel by the Abbé Prévost, already set by Massenet, while La bohème (1896) derived from a book by Henri Murger, also made into an opera by Leoncavallo. There are several reasons for the appeal that French subjects had for Puccini, and not least was the music of Massenet, whose operas enjoyed great success in Italy and strongly influenced the development of the style characterized as verismo. While this cannot be exactly identified with the realism of French novels and plays such as those of Zola and Sardou, it shares with them the aim of presenting aspects of life which bourgeois society preferred to hide. Massenet fumigated his stories for his fashionable audience, but developed a vivid emotionalism which was a model for Puccini’s less inhibited muse. Victorien Sardou was a prince of the Parisian theatre and the master of the well-made play, a vain and irrepressible man who ruthlessly manipulated his actors as well as his audience in his search for success. He had constructed La Tosca as a vehicle for Sarah Bernhardt in 1887, and provided her with a sensational triumph and his pockets with a flood of royalties. The play was set in Rome in June 1800, at the time of Napoleon’s victory at Marengo; it is a story of revolution, repression, police corruption, torture, murder and rape. Melodrama? Perhaps, but the first night of Tosca was almost ruined by the threat of a terrorist bomb, and 18

the music of puccini’s tosca

real life was not so different then as now. But is this the stuff of art? Certainly, for this story shows the strength of the human spirit, as two innocent people, trapped in the eddies of the whirlpool of politics, sacrifice their lives out of loyalty and love. But now Sardou’s play had to be turned into an opera. At first even Puccini had doubts about his suitability, and expressed them openly to Sardou: ‘And the more I said that it should be composed by a Frenchman, the more he insisted that it needed an Italian hand, that it should be a Roman opera. When I pleaded that my style was too gentle, too delicate and that my music moved on a different plane of expression, he retorted that there was no such thing, only talent. I pointed out that my heroines, Manon and Mimì, were different types from his, and then he shouted: “Tosca is their sister to the life – women in love are all the same!”, and I had to admit defeat.’ No doubt Sardou had his eye on his very substantial royalties and knew that if anyone could make a successful opera out of his play it would be Puccini. The composer now turned to his master collaborators, Illica and Giacosa, one to provide the scenario, the other the poetry. Illica had already made a start with the outline he had prepared for Franchetti, but Giacosa as usual grumbled and worked only under protest. Their task was to reduce Sardou’s five acts to three and to replace his wordy dialogue with the poetic shorthand upon which Puccini could work his magic. They were so successful that Sardou himself admitted later that their libretto was superior in construction to his play, although they scrapped many of his scenes and characters and transferred incidents from one location to another. The only character whose departure I regret was the composer Paisiello, whom Sardou portrayed as an opportunistic lickspittle, as ready to pen a revolutionary hymn as a royalist Te Deum. He is flattered by Tosca in her best prima-donna manner in an amusing scene where they make ready to perform his new cantata. There is another choice detail in the play which English audiences would have relished: Angelotti was originally jailed because he recognized in Emma Hamilton, the wife of the British Ambassador to Naples and the Queen’s intimate friend, the faded beauty of a teenage whore he once picked up in Vauxhall Gardens! 19

tosca

As always, Puccini played a dominating role in the process of dramatic construction and bullied his librettists unceasingly; he suggested the shape of scenes, dictated the length of lines and even told them where to put the stresses. Although he was dealing with figures as distinguished in their time (and as different in their literary styles) as John Osborne and Christopher Fry were in their own day, he had no hesitation in telling them how to do their job, because it was an integral part of his own. What he desired above all was a natural text, simple and brief, in a flowing conversational style; yet it had to be poetry and was often in rhyme. He had no time for pretension and pomposity, for he wanted his characters to respond spontaneously like real men and women. A particularly revealing example of this is Cavaradossi’s aria in the last act, while he waits to be executed. Puccini scrapped the original draft, a highflown farewell to life and art which had mightily impressed Verdi, and insisted on replacing it with what he asserted was the more natural response of an artist facing imminent death. At a session with his collaborators, he played through the rough shape of the melody with improvised words. Almost shyly he expounded his conception: Cavaradossi would remember his beloved through each of the senses, the sight of the stars, the perfume of the night air, the sound of her step. After the place, the person: ‘Entrava ella, fragrante’ (‘Fragrant, she entered’) – the intoxicating scent of a marvellous creature. She falls into his arms, and as he relives embraces and kisses, trembling he uncovers her body, and remembers the touch of her skin. But the dream of love is over now for ever – and (literally) ‘desperately I die’: (‘Muoio disperato’). Puccini insisted on these words from the start, and Giacosa willingly incorporated them into his delicate poetry. Puccini had a fanatical obsession with atmosphere and authen­ ticity. He consulted a priest friend about the correct prayers for a service of thanksgiving; he needed to know the exact sound of the church bells of Rome at dawn, even to the precise pitch of er campanone (the great bell of St Peter’s) – it was E natural. He consulted an expert for a genuine folk song of the campagna for the shepherd boy. Above all he knew that he must compose music which would convey the utmost dramatic intensity; he had to grasp the audience’s attention from the start and not let go until the fall 20

the music of puccini’s tosca

of the curtain brought them back to everyday life. Sardou may take many minutes of dialogue to set up a situation and describe the characters, but for Puccini the fine print of Cavaradossi’s flirtation with French revolutionary ideas was irrelevant. One of the few clumsy lines in the opera is an untypical verbal signpost when Cavaradossi says: ‘Angelotti! Il Console della spenta repubblica romana’ (which used to be translated as ‘the Consul of the moribund Roman Republic’!) – often at such a gabble that the phrase and its significance evade the most attentive ear. Sardou’s characters are curiously lifeless in the play, despite elaborate dialogue; Puccini’s throb with passion and immediately demand our attention. The secret is in the characterization through leading themes. Add to this his harmonic sensibility, his genius for orchestral expression and a sense of drama that fascinates the most reluctant spectator, and you have an array of skills that explain his undiminished appeal. Puccini’s use of symbolic motifs owes more to the example of Massenet than Wagner. They are not so much visiting cards as triggers of conditioned reflexes; whatever form they take, however fragmentary, they evoke that twitch of emotion that keeps us on the edge of the seat. Take the opening bars, where a sequence of three chords tells us more in six seconds about a man of violence than six minutes of discussion of his motives and character [1]. These chords are not just violent: they are harmonically unrelated, and so symbolize the irrational acts of a psychopath, the sadistic Chief of Police, Baron Scarpia. It is a potent musical image that recurs throughout the opera, in many different moods, according to the tempo, loudness, register and orchestration. So when the escaped prisoner, Angelotti, finds the key to the chapel where he can hide, the Scarpia theme is momentarily defeated as its third chord drops suddenly to pianissimo. And in the exquisite opening to the last act, the peace of a summer night is clouded by the intrusion of those menacing harmonies: even after his death, Scarpia’s evil still remains. While it would be too much to claim that Puccini was a cerebral composer of the order of Schoenberg, he was a supreme musical craftsman, and part of his strength lay in his manipulation of these symbolic themes in a subtle and often complex relationship. If, for . Numbers in square brackets refer to the Thematic Guide on pp. 37–41 [Ed.]

21

tosca

example, you take the top notes of the Scarpia sequence of chords, they form a chromatic upward phrase. Reverse this, expand it a little, and you have the theme which expresses the other side of his personality as shown at the start of the second act, where in an expansive mood he sits at the supper table [20]. But this threenote figure can take on a sudden menace during the interrogation, achieving the maximum effect with the simplest means, which might be taken as Puccini’s motto. There are many other examples of this interrelation of themes. At the very beginning of the opera, after the audience has been gripped by the thunder of the first three bars, the curtain rises on the interior of a church, and the ragged figure of a man runs in to the sound of a hectic sequence of syncopated chords, forming a downward scale of four notes [2]. Angelotti, the escaped political prisoner, is searching for the key to the chapel where he can hide, left by his sister, the Countess Attavanti. She has been visiting the church, ostensibly to pray, but unwittingly has also acted as model for Cavaradossi’s picture of the Magdalen. She too has her musical symbol, and since she was born an Angelotti, what else would it be but a downward scale of four notes [6]? Cavaradossi, in the famous aria ‘Recondita armonia’ (literally, ‘Strange harmony of contrasts’ [8]) speaks of his achievement in combining the looks of his dark-eyed beloved, Tosca, with those of his fair-haired blueeyed model, who unknown to him is the Countess Attavanti. One commentator has sneered at the lack of ‘strange harmony’ here, but he had missed the point that in the fifth and sixth bars [9] Puccini has combined, or harmonized, the musical symbol for Tosca, a series of downward-dropping intervals [7], with the four-note scale [6] associated with the Countess Attavanti. There is also a consistent contour to the music that expresses Cavaradossi’s emotions: this often begins with a warm upward scale [15]. Clearly Puccini also associates the rhythm of these triplets with an embrace, although it may be warm, as in the lovers’ music, or perverse as in Scarpia’s lust [19, 20]. Similarly, the chromatic scale always pervades thoughts of jealousy [11]. Sometimes Puccini changes the mood of a phrase by a subtle transformation of its rhythm or tonality; for example, the sinister march of the interrogation squad reappears in the third act as the lilting theme which accompanies the lovers’ thoughts of freedom. 22

the music of puccini’s tosca

A more complex development is that of the upward-thrusting arpeggio which expresses Scarpia’s lust [29]. In the last act Tosca describes how she stabbed Scarpia as he tried to rape her, and now the upward arpeggio symbolizes the thrust of the knife culminating in a splendid top C. Cavaradossi, astonished that her gentle hands could perform such an act, takes them and kisses them, and now the upward arpeggio is softened into a melodic caress [37]. This passage was not to the liking of Ricordi, who urged Puccini to replace it with something grander; he missed the point that the composer wanted to express the tender feelings of a real human being, who would speak and act in such an intimate manner. Another remarkable quality of Puccini’s themes is that they can bear many modes of expression. The melody of Cavaradossi’s third-act aria is heard in the warm sound of the strings, in the plaintive hesitant tone of the clarinet, in the passionate sound of the voice, doubled by the full orchestra, and in the closing bars of the opera is thundered out in tragic defiance. The accepted interpretation of this melody uses an extensive rubato, not written but enshrined in a tradition based on the composer’s instruction. Puccini’s melodies, particularly the arias, look surprisingly simple: there are few chromatic notes, and they often revolve around one note in a manner which looks as though it would sound monotonous but does not. Their harmonies are often just as straightforward. Puccini’s harmonic imagination is more evident in his creation of dramatic atmosphere and changes of mood by sudden shifts of tonality and the juxtaposition of apparently unrelated chords. The opening bars [1] are a good example. So too is the music that accompanies Angelotti’s first entrance [2]: a series of diminished fifths in ever-changing rhythm which seem to be searching for a key, just like the fugitive. When Tosca is telling her lover about her plans for the evening, she sings in one key, while he, preoccupied by thoughts about Angelotti, answers in another. The shifts of tonality can carry the listener along with unrelenting power, as in the love scene in the first act, where Cavaradossi reassures the jealous Tosca and sweeps into the key of E flat with a phrase like a caress [15]. Often the change of harmony is abrupt and devastating. As Scarpia gives orders to the torturer, he tells him to follow the usual procedure, and adds, ‘and then… as I shall 23

tosca

order’ – and with these words, across the tonality of E minor, comes a chord of G minor, played with chilling effect by the whole orchestra pianissimo. (I must confess, however, that I wish Puccini had avoided that banal chord of the dominant seventh just before the last bar of the first act.) To return to more telling procedures, let me quote a passage which recurs several times, apparently whenever the idea of escape, disappearance or concealment is mentioned. This is heard first when Cavaradossi mentions the well in his garden where Angelotti could hide; from the orchestra comes a series of chords built on the whole-tone scale, with shifting nebulous harmonies as though the tonality were dissolving. This sequence is heard again in the second act, when Tosca breaks down before Scarpia’s coercion and reveals where Angelotti is concealed, and again when Scarpia instructs Spoletta in the trick execution which is supposed to allow the lovers to escape. This harmonic subtlety is often coloured by Puccini’s genius for the orchestra. Every composer evokes a style suited to his needs, and we can admire the delicacy of Mozart or Debussy, as well as the opulence of Richard Strauss or Wagner. Puccini is concerned with the expressive power of the voice, and his accompaniments are invariably transparent or supportive. There is no reason why you should not be able to hear every word in a performance of his operas. He knows where the voice is weak, and where strong, and will thicken the instrumentation when the singer is in the penetrating upper register, but refine it to almost nothing with a passage in the middle or low parlando range, using pizzicato notes or chords and phrases for the woodwind or harp. He is often accused of doubling the voice part with an excess of instrumental tone; he certainly does this occasionally, but it is the Italian tradition, and I wonder why Verdi is not taxed with this sin in the ‘Agnus Dei’ of the Requiem? This colouring of the melody is, in a sense, its harmonization. It was also Puccini’s practice to give the voice a sort of monotone, with the main theme in the orchestra, as in both the tenor arias and in part of ‘Vissi d’arte’. At such moments his delicate handling of instrumental colour is easily ignored or taken for granted. For example, the theme that seems to express Tosca’s inner piety tells us more about her true character than the long recital of her 24

the music of puccini’s tosca

early history in the play. The deep impression that this makes is due largely to the scoring for flute and cello solo, accompanied by pizzicato triplets for violins and violas [13]. Considering his genius for orchestral colour, it is always a surprise to find virtually no examples of his music in the standard books on orchestration. I know of few composers who understood so well the emotional potential of every instrument in the orchestra. Richard Strauss boasted that he could describe any object with his music; Puccini might have claimed that he could trigger any emotion with just the sound of an instrument in a certain register, or a particular layout of a chord. The most obvious example of this is in the brutal rasp of the heavy brass in the opening bars, but contrast that with the sinister sound of three flutes in unison in a low register playing the march of the torture squad [23], or the plangent moan of the viola, either solo or tutti, which dominates so much of this opera. The horrifying atmosphere of the closing bars of the second act, when Tosca places candles beside the body of Scarpia, derives almost entirely from the scoring of the chord of E minor in several different combinations, culminating in a sort of shriek with the cor anglais and the violas at the top, muted horns and oboes in the middle, and the distant threat of the executioner’s drum. Right at the end of the act the key shifts suddenly back to F sharp minor, but by a touch of genius the final chord played by the harp, celesta and trumpets lacks the fifth – a bare minor third, F sharp and A. The origin of this is to be found in Scarpia’s menacing question to Tosca ‘Ebbene?’ (‘Well?’) sung to a phrase of a minor third. She bitterly inclines her head, and in the following bars that interval keeps sounding in the orchestra like a nagging pain, and when she picks up the knife and stabs him, that interval of the minor third rings out again and again in the wild fury of Scarpia’s dying convulsions. In utter contrast to these orchestral shudders, the opening of the third act is a masterpiece of aural scene painting. It starts with the exuberant open-air sound of four horns in unison, playing the exultant theme that the lovers are later to sing in triumph, as they think, over evil [39]. As their tone dies away, the curtain rises; according to the stage directions it is still night, and Puccini’s glittering orchestration evokes the starry magic of the last moments 25

tosca

before the sunrise. Stealthily the dawn reveals the sinister battlements of the Castel Sant’Angelo, which to the Italians had something of the menace that the Tower of London once had for the English, a charnel house of torture and execution. There is a passing hint of menace in an echo of Scarpia’s music, and then a shepherd boy is heard singing a folk song of the campagna, with the bells of his flock adding a delicate accompaniment. Puccini was fascinated by the sound of bells, and at this point he creates an unforgettable tonal picture, as the strings of the orchestra unfold a long and wistful melody to the sound of the church bells of Rome. He took great trouble to get their pitch, rhythm and location absolutely correct so that they may be placed at the right spot backstage and sound louder or more distant as the case might be. Some of them had to be specially made, and to this day it is a passage which can stretch a theatre’s resources. In fact, no audience in Britain has ever heard the E natural of er campanone, which is usually replaced by one an octave higher doubled by a large gong. (You can hear the true pitch in the famous recording conducted by De Sabata at La Scala, Milan.) The hypnotic beauty of the opening of this act is part of a care­ fully calculated dramatic sequence, typical of Puccini’s mastery of the theatre. Each mood prepares the way for the next: after the vigorous optimism of the opening, we are lulled by the beauty of the night; then comes a hint of menace, dispelled by the innocent charm of the shepherd boy. As the bells sounds, the strings touch deeper wells of melancholy, until with the sombre stroke of the bell of St Peter’s the orchestra unfolds the plaintive melody of Cavaradossi’s aria, in which he remembers with growing despair the sensuous joy of a night of love. As the last note of the aria dies away, the orchestra picks up the phrase and reveals that it is the start of the Tosca motif [7], and in a thrilling burst of orchestral polyphony and a breathtaking sequence of modulations the lovers are reunited. This dramatic continuity, heightened by contrast and intensified by changes of key and instrumental colour, typifies Puccini’s method throughout the opera. Each entrance is prepared musically to increase the dramatic impact: Scarpia’s entrance in the . Modern digital reproduction techniques now make it possible to achieve the pitch as scored by Puccini [Ed.].

26

the music of puccini’s tosca

first act, for example, terrifies the more because it abruptly cuts across the jaunty merrymaking of the Sacristan and his choirboys. Tosca is heard off-stage before she appears, so heightening our expectation. The sound of her voice in the pastiche cantata in the second act emphasizes the grisly horrors being enacted in Scarpia’s rooms. Although the torture scene is often scorned for its crude sensationalism, its impact is almost wholly created by the music. Puccini shrewdly kept the actual torture off-stage, and with a meticulously planned crescendo of rhythm and dynamics screws up our imagination as tightly as Tosca’s nerves. Only in one place does one feel that Puccini yielded to the empty conventions of Italian opera: in Scarpia’s aria at the beginning of the second act. It is as though he felt bound to give the leading baritone his moment of glory [22], but this attempt at a ‘Credo’ has an empty ring, and we can sense the relief with which Puccini returns to the dramatic action. Cavaradossi’s revolutionary outburst at the news of Napoleon’s victory is hysterical, but then it would be, wouldn’t it? This is one moment where Sardou knew better: in the play the dispatch from the battlefield is read out loud by the Princess at a grand party. As the facts emerge, her voice falters and she faints. We could hardly expect that from Scarpia! Puccini knew what he was doing to discard these subsidiary characters and verbal intricacies that might have entertained Sardou’s Parisian audience; they had no place in his operatic method. What he needed was a taut dramatic structure where his musical genius could present the characters as archetypal figures, and his success in doing so accounts for his universal appeal. Nearly sixty years ago Cecil Gray could attack Puccini and claim the support of ‘the leaders of musical opinion in every country’. In 1982 Sir William Walton remarked that ‘Puccini is almost my favourite composer’ and selected as one of his ‘Desert Island Discs’ Cavaradossi’s ‘E lucevan le stelle’.

27

Historical Perspectives on Tosca Stuart Woolf Giacomo Puccini was a babe-in-arms when Italy was united in 1861. So the final scenes of the prolonged epic drama of the Italian struggle for independence and unification which had enthused the European public – the invasion of Sicily and Naples by Garibaldi and his Thousand – can hardly have formed part of his childhood impressions. But as a boy of thirteen he must have been affected by the national rejoicing in September 1870, when the walls of the Eternal City were breached and Rome became the capital of Italy. Tosca was written only in the late 1890s. But Puccini’s youthful experiences as an Italian cannot be ignored, as they surely influenced his understanding and interpretation of major events in Italy’s historical past. Puccini belonged to the first generation of a new nation state which (like most new states) was concerned to legitimate its existence by a self-laudatory interpretation of the inevitability of its creation. At school the young Giacomo was no doubt taught this ‘official’ version of the Risorgimento, a rapidly invented and uniformly recounted tale in which martyrs and heroes, sometimes squabbling but always united in their patriotism, served as the milestones in the victorious march towards monarchical unity. Inevitably, in so simplistically mythologized a story, the rulers of those Italian states who had opposed the house of Savoy were castigated, usually for their maladministration as much as for their reactionary views. Thus, for Puccini, the major political events which form the background to Tosca were part of his education as an Italian before he ever saw Sardou’s play. The Bourbons of Naples and the popes of Rome were opponents of the Italian patriots in 1799– 1800, as in 1848 or 1859–61. Indeed, for Puccini (and perhaps for 29

tosca

Sardou) Atto Vannucci’s Martyrs of Italian Liberty from 1794 to 1848 (republished for the seventh time in 1887) may well have provided the primary source of inspiration for the portrayal of the consul Cesare Angelotti, patriot of the Roman Republic. This minor character, almost the archetypal persecuted patriot in both Sardou’s drama and Puccini’s opera, was based on the historically less pure figure of Liborio Angelucci, a consul of the Roman Republic whose speculation in confiscated ecclesiastical properties and lust for power led to his enforced resignation; far from being assassinated by the Neapolitan or any other police, Angelucci died in his bed in 1811. To Puccini and his public, the events of 1799–1800 were more distant and unfocused than is the Victorian era to most British opera-goers today. But that these events should have been reduced simply to early names in the roll call of patriotic martyrdom is not entirely casual. For, to the monarchical historians of the end of the nineteenth century, the legacy of this first political expression of national sentiment was uncomfortably ambivalent. Political consciousness among small groups of educated Italians – nobles, reformers, writers, even priests – had been aroused by the first French invasion of Italy under the young general Napoleon Bonaparte in 1796. The Italian collaborators of the invading French armies were described by their enemies, somewhat unjustly, as ‘Jacobins’. In fact, their moment of glory only came some years after Robespierre and his fellow Jacobins had been guillotined in France. During these three years of French rule (1796–99), the Italian patriots discussed and publicly proclaimed their beliefs, which can be summarized as faith in independence, some form of unity, a close relationship with France, democracy and a republic. The established rulers of Italy were evicted, with Charles Emanuel IV of Savoy, King of Sardinia, followed by the Austrian ruler of Lombardy, Emperor Francis II, his client dukes of Modena, Parma and Tuscany, and Pope Pius VI and Ferdinand IV of Naples. Republics were created on the model of France – the Cisalpine and Ligurian Republics in northern Italy (1797), the Roman Republic (February 1798) and the Parthenopean at Naples (January 1799). The patriots who played a role in these republics were imbued with idealistic faith in the possibilities of change and progress; 30

historical perspectives on tosca

revolution was to succeed where the enlightened reforms of the previous decades had failed. This continuity between enlightened reform and revolution was an established canon of eighteenthcentury historiography. Sardou, concerned as always to validate his historical realism, gave Cavaradossi impeccable credentials: his father, a friend of Galiani, Diderot and d’Alembert, married a relative of Helvétius, while Mario himself learnt his art from the revolutionary painter David. In the opera, the same identification of enlightened rationalistic philosophy with revolutionary beliefs is pithily conveyed in Scarpia’s aside that Cavaradossi is ‘a rev­o­ lutionary!’ But the exactions of the French troops and the failure of the Italian Jacobins to win over the peasantry by an attack on feudal rights (as in France in 1789) led to savage risings against both French and patriots as the allied coalition under the Russian general Suvorov defeated the French armies in the spring of 1799. In the Kingdom of Naples a peasant army led by Cardinal Ruffo in the name of the Santa Fede (‘Holy Faith’) marched up through Calabria and Basilicata, and finally, with the aid of the urban plebs, the lazzaroni, captured the city of Naples from the republicans in June. Similar to this Sanfedist peasant reaction, with its superstitiously religious overtones, was the Arezzo peasant rising – to the cry of Viva Maria – that accompanied the French withdrawal from Tuscany. At Rome the popolino, or poor, of Trastevere attacked the recently emancipated Jews in the names of the Virgin and the Pope. By August 1799 the French ambassador, Bertolio, could write to Paris: ‘We’re stranded at Rome as on Robinson Crusoe’s island; but our position is far more worrying’. By the end of September, as the French armies withdrew from Italy, only leaving garrisons to defend the ports of Genoa and Ancona, the Italian republics collapsed. The first episode of the awakening of an Italian national con­ sciousness was thus complex and ambivalent for later generations to interpret. Small groups of educated Italians had proclaimed and endeavoured to act upon their belief in independence and some form of unity. But they had proved entirely dependent on the foreign French, and in any case were identified with revolutionary republicanism and Jacobin extremism. Their opponents lent themselves to similarly alternative interpretations. For did not the 31

tosca

mass risings of the peasantry and urban plebs, although often as much class-based as religiously inspired, represent a more authentic national voice of Italy than the Italian Jacobins? But it was a voice of reaction, in support of a retrograde monarchy and a superstitious faith in priests. To the historians of the monarchical state of Italy, recently unified at the expense of the King of Naples and the Pope, it was easier to ignore such embarrassing problems by concentrating on the fate of the martyrs. Ferdinand of Naples offered them the perfect excuse. Following the occupation of Naples, Cardinal Ruffo had offered honourable terms to the Neapolitan patriots and French who still held out in the city’s two great castles. The British fleet, under Horatio Nelson and carrying the ambassador Sir William Hamilton and his wife Emma, reached Naples the day after the agreement was signed. Whatever the influence of his lover Emma Hamilton, confidante of the violently anti-Jacobin queen Maria Carolina, Nelson reneged on the capitulation agreement, hanged one of its leaders, Francesco Caracciolo (who was discovered in hiding halfway down a well) and held all the others prisoner until Ferdinand could return from Sicily and execute them. This massacre of over a hundred republicans created immediate revulsion, and has permanently blackened the reputation of the Bourbons. For it was not only the number of those executed that horrified contemporaries, but their quality, including many of the most distinguished Neapolitan nobles and intellectuals. The patriotic movement in the Kingdom of Naples was only to revive a generation later, in the Carboneria and antiBourbon sects which rose in revolt in 1820 and 1848. In his The Bourbons of Naples 1734–1825 (1956) Harold Acton, descendant of an Irish admiral and leading minister of Ferdinand IV, as well as of the liberal Catholic historian Lord Acton, is almost alone among historians over the past century in his attempt to justify Bourbon rule. For the repressions and breaking of faith following the collapse of the 1820 and 1848 revolutions merely served to confirm the reputation acquired by the Bourbon dynasty in 1799. Gladstone’s denunciation of Bourbon police and prisons in his Two Letters to the Earl of Aberdeen on the State Prosecutions of the Neapolitan Government, was so spectacularly successful (with at least nine reprints in 1851, its year of publication) not least because 32

historical perspectives on tosca

it built upon a sadly established reputation. Whether the police were so effective in Scarpia’s time is a different matter, and must be regarded as extremely unlikely. Systematic use of secret police as a major instrument of state control only really began in Habsburg Austria in the 1790s and Napoleonic France a decade later. But, given the historical tradition, it is hardly surprising that Sardou and Puccini should have attributed such efficacy to the servants of this ill-starred dynasty. After so lengthy a digression, it is time to turn back to the events of 1799–1800. The Neapolitan army, under the Austrian general Mack, had already occupied Rome in December 1798 when the French had withdrawn for tactical reasons. During these few weeks, before Mack was defeated by the French in a series of battles, Ferdinand of Naples and Maria Carolina had lodged in their Neapolitan embassy at Rome, the Palazzo Farnese, where Act Two of Tosca takes place. On 27th September 1799, after the French withdrawal, a rabble army advancing from Naples again occupied Rome. It is during this second occupation that the entire action of Tosca takes place. Two points of historical interest are worthy of note. First, the atmosphere of fear and menace in the opera rings true. For, although Ferdinand refused to leave Palermo for Rome, the inhabitants of the papal capital must have felt peculiarly vulnerable, as their city was transferred from one foreign occupant to another. Indeed the death in exile of Pius VI in August 1799 left the Romans without a legal temporal ruler until the election of Pius VII in 1800. Secondly, the close interlocking between Tosca’s personal love affair with Cavaradossi and the sudden change of course marked by the battle of Marengo, although obviously accentuated by Sardou and Puccini for melodramatic effect, reflects a moment of genuine historical significance. (Perhaps Italian history contains more than its fair share of such dramatic episodes, from the rivalry of clans in medieval Verona which inspired Shakespeare’s Romeo and Juliet to Garibaldi and indeed more recent episodes. Or maybe the very continuity of Italian cultural hegemony in Europe, from the twelfth to the seventeenth centuries, imprinted a heightened and overdramatized sense of Italian history on European writers and poets.) In one respect Sardou and Puccini distort the historical record. For 33

tosca

Bourbon complacency about the defeat of revolutionary France had little basis. The day before the second Neapolitan occupation of Rome, Suvorov had been defeated at the battle of Zurich and forced to withdraw his army into Germany; soon after the Tsar abandoned his coalition. Thus the continuance of Bourbon power rested solely on Austrian military skill. Only five weeks later, soon after his return from Egypt, Napoleon Bonaparte seized power on 18th Brumaire (9th November 1799). While Napoleon assured himself of France, the Austrian armies under Melas took the offensive in Liguria, capturing Nice on 11th May and finally gaining Genoa on 4th June. But Napoleon had already crossed the Great St Bernard Pass across the Alps in mid-May, and on 14th June 1800, dramatically reversing what initially had seemed a defeat, won his decisive victory at Marengo. Within weeks the Cisalpine and Ligurian Republics were re-established and Piedmont placed under French military rule; the Neapolitans hastily withdrew from Rome, which the new pope Pius VII entered in early July. All Italy was to remain firmly under Napoleonic control, with the Bourbons of Naples deposed in 1806 (but surviving under British naval protection in Sicily) and Rome occupied in 1808; only with Napoleon’s overthrow in 1814 were king and pope to be restored to their thrones. Marengo was thus a battle of true historical importance: it consolidated Napoleon’s power in France and enabled him to renew his victorious campaigns in his ever more aggressive quest for the military domination of Europe. But Marengo also and immediately was transmuted into more than its historical reality. Its iconographical representation, reproduced and diffused in innumerable versions, made of the event a symbol of Napoleon the Great, conqueror and liberator, in the grand classical and neoclassical tradition that looked back unashamedly to Alexander. To the Italians, in the late 1890s, this image probably only survived in opaque and tarnished form, for official Italian historiography – in those decades of bitter rivalry between France and Italy – preferred to forget about the Napoleonic years and date the beginning of the Risorgimento to 1815. But for Sardou the Napoleon of Marengo undoubtedly constituted an indelible fragment of his culture. One final aspect of Tosca must be noted: its persistent tone of anti-clericalism. Once again, Puccini accepted this without 34

historical perspectives on tosca

modification from Sardou. The caricature figure of the Sacristan (‘He who aggrieves a misbeliever earns an indulgence’) of course belongs to a venerable tradition of literary writing, particularly strong in Italy, home of the papacy, but common to all Western European countries. Historically, in a broad sense, the liberal hostility to what were regarded as clerically inspired corrupting superstitions was an inherent part of the revolutionary message. Indeed anti-clericalism – in the sense of a generic hostility to the rule of priests and a readiness to crack jokes at their expense – was certainly widespread in the Papal States and predated the Jacobins by some centuries: it is enough to think of Machiavelli and Guicciardini. But recent historical research has shown that, on the specific context of the Jacobin years in Italy, Sardou for once was not wholly accurate. The Italian Jacobins, in fact, throughout Italy but especially in Rome, were particularly cautious in their attitude towards the Church, precisely because of its hold on the peasant masses. Sardou could hardly have known of this, and it was eminently natural for a French intellectual of the 1880s, schooled in the disputes between Church and State, to assume a historical identity between liberal revolution and anti-clericalism as a contrast to that reactionary, clerical rule of the backward governments of Naples and Rome, which in the Restoration years would be subsumed in the phrase ‘throne and altar’. For Puccini, this anti-clericalism would have come naturally. Although Lucca, his birthplace, was traditionally a ‘clerical’ town, perhaps through its determination to assert its independence from the surrounding anti-clerical Tuscany, Puccini had been educated in a liberal state which Pius XI and his successors had refused to recognize. Only a few years before Puccini wrote Tosca, the authoritarian, anti-clerical reforming Prime Minister Crispi had been responsible for a penal code which abolished the death penalty (so prominent in Tosca) and punished ‘clerical abuses’. In the anti-clericalism that permeates Tosca, the personal and cultural experiences of Puccini, as youth and man, join naturally with the inspiration he drew from Sardou.

35

Thematic Guide Themes from the opera have been identified by the numbers in square brackets in the article on the music. These are also printed at corresponding points in the libretto, so that the words can be related to the musical themes.

37

tosca

38

thematic guide

39

tosca

40

thematic guide

41

Tosca Opera in three acts by Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou Libretto and English translation supplied by EMI Classics Tosca was first performed at the Teatro Costanzi, Rome, on 14th January 1900. It was first performed in the Britain at the Royal Opera House on 12th July 1900 and in the USA at the Metropolitan Opera, New York, on 4th February 1901. the characters

Floria Tosca a famous singer Mario Cavaradossi a painter Baron Scarpia Chief of Police Cesare Angelotti Sacristan Spoletta a police official Sciarrone an agent A Jailer A Shepherd Roberti the executioner A Cardinal, a Judge a Scribe, an Officer

}

soprano tenor baritone bass baritone tenor bass bass contralto / treble non-speaking parts

Choirboys, citizens, acolytes, priests, police agents, guards, soldiers Rome, June 1800

ATTO PRIMO La Chiesa di Sant’Andrea della Valle. (A destra la Cappella Attavanti. A sinistra un impalcato; su di esso un gran quadro coperto da tela. Attrezzi vari da pittore. Un paniere. Entra Angelotti vestito da prigioniero, lacero, sfatto, tremante dalla paura, quasi correndo. Dà una rapida occhiata intorno.) ANGELOTTI Ah! Finalmente! Nel terror mio stolto vedea ceffi di birro in ogni volto. (Torna a guardare attentamente intorno a sé con più calma a riconoscere il luogo. Dà un sospiro di sollievo vedendo la colonna con la pila dell’acqua santa e la Madonna.) La pila… la colonna… ‘A piè della Madonna’ mi scrisse mia sorella…

[3]

(Vi si avvicina, cerca ai piedi della Madonna e ne ritira, con un soffocato grido di gioia, una chiave.) Ecco la chiave, ed ecco la cappella! (Con grande precauzione introduce la chiave nella serratura della Cappella Attavanti, apre la cancellata, penetra nella cappella, richiude e scompare. Il Sagrestano entra dal fondo tenendo fra le mani un mazzo di pennelli, e parlando ad alta voce come se [4, 5] rivolgesse la parola a qualcuno.) SAGRESTANO E sempre lava! Ogni pennello è sozzo peggio d’un collarin d’uno scagnozzo. Signor pittore… Tò! 44

ACT ONE The Church of Sant’Andrea della Valle. (To the right, the Attavanti chapel. To the left, a painter’s scaffold with a large painting covered with a cloth. Painter’s tools. A basket. Enter Angelotti in prisoner’s clothes, dishevelled, tired, and shaking with fear, nearly running. He looks quickly about.) ANGELOTTI Ah! At last! In my stupid fear I thought I saw a policeman’s jowl in every face. (He stops to look around more attentively, calmer now that he recognizes the place. He sighs with relief as he notices the column with its basin of holy water and the Madonna.) The column… and the basin… ‘At the base of the Madonna’ my sister wrote me…

[3]

(He goes up to the Madonna and searches about at the base. He gives a muffled shout of joy as he picks up the key.) This is the key, and this is the chapel! (With the utmost care, he puts the key in the lock of the Attavanti chapel, opens the gate, goes in, closes the gate and disappears within. Enter the Sacristan from the rear, carrying a bunch of painter’s brushes, and muttering loudly as though he were addressing [4, 5] someone.) SACRISTAN Forever washing! And every brush is filthier than an urchin’s collar. Mister Painter… There! 45

tosca

(Guarda verso l’impalcato dove sta il quadro e, vedendolo deserto, esclama sorpreso:) Nessuno. Avrei giurato che fosse ritornato il cavalier Cavaradossi. (Depone i pennelli, sale sull’impalcato, guarda dentro il paniere e dice:) No, sbaglio, il paniere è intatto. (Suona l’Angelus. Il Sagrestano si inginocchia e prega som­ messo:) Angelus Domini nuntiavit Mariæ, et concepit de Spiritu Sancto. Ecce ancilla Domini; fiat mihi secundum Verbum tuum et Verbum caro factum est et habitavit in nobis… (Cavaradossi entra dalla porta laterale e vede il Sagrestano in ginocchio.) CAVARADOSSI Che fai? SAGRESTANO (alzandosi) Recito L’Angelus. (Cavaradossi sale sull’impalcato e scopre il quadro. È una Maria Maddalena a grandi occhi azzurri con una gran pioggia di capelli dorati. [6, 7a] Il pittore vi sta dinanzi muto, osservando attentamente. Il Sagrestano, volgendosi verso Cavaradossi per dirigergli la parola, vede il quadro scoperto e dà un grido di meraviglia.) Sante ampolle! Il suo ritratto! CAVARADOSSI Di chi? 46

act one

(He looks towards the scaffold with its painting and is surprised on seeing nobody there:) No one… I would have sworn the Cavalier Cavaradossi had come back. (He puts down the brushes, mounts the scaffold and examines the basket, remarking:) No, I’m mistaken. The basket has not been touched. (The Angelus sounds. The Sacristan kneels and prays in hushed voice.) Angelus Domini nuntiavit Mariæ, et concepit de Spiritu Sancto. Ecce ancilla Domini; fiat mihi secundum Verbum tuum et Verbum caro factum est et habitavit in nobis… (Enter Cavaradossi from the side door. He sees the Sacristan kneeling.) CAVARADOSSI What are you doing? SACRISTAN (rising) Reciting the Angelus. (Cavaradossi mounts the scaffold and uncovers the painting: it is of a Mary Magdalene with great blue eyes and a cascade of golden hair. [6, 7a] The painter stands in silence before it and studies it closely. The Sacristan turns to speak to Cavaradossi and cries out in amazement as he sees the uncovered picture.) Oh, holy vessels! Her picture! CAVARADOSSI Whose? 47

tosca

SAGRESTANO Di quell’ignota che i dì passati a pregar qui venìa. Tutta devota… e pia. (Accenna verso la Madonna dalla quale Angelotti trasse la chiave.) CAVARADOSSI È vero. E tanto ell’era infervorata nella sua preghiera ch’io ne pinsi, non visto, il bel sembiante. SAGRESTANO (fra sé) Fuori, Satana, fuori! CAVARADOSSI Dammi i colori. (Il Sagrestano eseguisce. Cavaradossi dipinge con rapidità e si sofferma spesso a riguardare; il Sagrestano va e viene, portando una catinella entro la quale continua a lavare i pennelli. A un tratto Cavaradossi si ristà di dipingere; leva di tasca un medaglione contenente una miniatura e gli occhi suoi vanno dal medaglione al quadro.) Recondita armonia di bellezze diverse! È bruna Floria, l’ardente amante mia…

[8] [9]

SAGRESTANO (fra sé) Scherza coi fanti e lascia stare i santi… CAVARADOSSI E te, beltade ignota… cinta di chiome bionde, tu azzurro hai l’occhio, Tosca ha l’occhio nero!

[10]

SAGRESTANO (fra sé) Scherza coi fanti e lascia stare i santi…

48

act one

SACRISTAN That strange girl who has been coming here these past few days to pray. Such devotion… such piety. (He waves towards the Madonna from whose base Angelotti has taken the key.) CAVARADOSSI It is so. And she was so absorbed in fervent prayer that I could paint her lovely face unnoticed. SACRISTAN (to himself) Away, Satan, away! CAVARADOSSI Give me my paints. (The Sacristan does so. Cavaradossi paints rapidly, with frequent pauses to observe his work. The Sacristan comes and goes; he carries a small basin in which he continues his job of washing the brushes. Suddenly Cavaradossi leaves his painting: from his pocket he takes a medallion with a portrait in miniature, and his eyes travel from the miniature to his own work.) Oh, hidden harmony of contrasting beauties! Floria is dark, my love and passion…

[8] [9]

SACRISTAN (to himself) To hear this heathen scorn the laws of heaven… CAVARADOSSI And you, mysterious beauty… crowned with blond locks. Your eyes are blue and Tosca’s black! SACRISTAN (to himself) To hear this heathen scorn the laws of heaven…

49

[10]

tosca

CAVARADOSSI L’arte nel suo mistero le diverse bellezze insiem confonde; ma nel ritrar costei il mio solo pensier, Tosca, sei tu! SAGRESTANO (fra sé, in disparte) Queste diverse gonne che fanno concorrenza alle Madonne mandan tanfo d’inferno. Scherza coi fanti e lascia stare i santi… Ma con quei cani di volterriani, nemici del santissimo governo, non c’è da metter voce! Scherza coi fanti e lascia stare i santi… Già, sono impenitenti tutti quanti! Facciam piuttosto il segno della croce. (a Cavaradossi) Eccellenza, vado? CAVARADOSSI Fa il tuo piacere! (Continua a dipingere.) SAGRESTANO Pieno è il paniere… Fa penitenza? CAVARADOSSI Fame non ho. SAGRESTANO (con ironia, stropicciandosi le mani) Oh! Mi rincresce! (Non può trattenere un gesto di gioia e uno sguardo di avidità verso il cesto che prende, ponendolo un po’ in disparte.) Badi, quand’esce chiuda. CAVARADOSSI Va’! 50

act one

CAVARADOSSI Dissimilar beauties are together blended by the mystery of art: yet as I paint her portrait, Tosca, my sole thought is of you! SACRISTAN (to himself) These various women in rivalry with the Madonna smell of the devil. To hear this heathen scorn the laws of heaven… But we can have no truck with these agnostic dogs. Enemies of the Holy Government! To hear this heathen scorn the laws of heaven… Yes, they are sinners, the whole pack of them! Let us rather make the sign of the cross. (to Cavaradossi) Excellency, may I go? CAVARADOSSI As you wish. (He resumes his painting.) SACRISTAN Your basket’s full… Are you fasting? CAVARADOSSI I’m not hungry. SACRISTAN (ironically rubbing his hands) Oh! So sorry! (He cannot contain a gleeful gesture as he glances avidly at the full basket. He picks it up and places it to one side.) Be sure to close up when you leave. CAVARADOSSI Run along! 51

tosca

SAGRESTANO Vo. (S’allontana per il fondo. Cavaradossi, volgendo le spalle alla cappella, lavora. Angelotti, credendo deserta la chiesa, appare dietro la cancellata e introduce la chiave per aprire.) CAVARADOSSI (al cigolio della serratura si volta) Gente là dentro!

[2]

(Al movimento fatto da Cavaradossi, Angelotti, atterrito, si arresta come per rifugiarsi ancora nella cappella, ma, alzati gli occhi, un grido di gioia, che egli soffoca tosto, timoroso, erompe dal suo petto. Egli ha riconosciuto [11] il pittore, e gli stende le braccia come ad un aiuto inaspettato.) ANGELOTTI Voi! Cavaradossi! Vi manda Iddio! Non mi ravvisate? Il carcere mi ha dunque assai mutato. CAVARADOSSI (guarda fiso il volto di Angelotti e, finalmente, lo ravvisa. Depone rapido tavolozza e pennelli. Scende dall’impalcato verso Angelotti guardandosi cauto intorno.) Angelotti! Il Console della spenta repubblica romana! (Corre a chiudere la porta a destra.) ANGELOTTI Fuggii pur ora da Castel Sant’Angelo.

[12]

CAVARADOSSI Disponete di me. TOSCA (fuori) Mario! (Alla voce di Tosca, Cavaradossi fa un cenno ad Angelotti di tacere.) CAVARADOSSI Celatevi! È una donna gelosa. Un breve istante e la rimando. 52

act one

SACRISTAN I’m going. (Exit at the rear. Cavaradossi continues working, his back to the chapel. Angelotti appears at the gate there, and puts the key in the lock, believing the church is still deserted.) CAVARADOSSI (He turns at the creaking of the lock) Someone in there!

[2]

(Startled by the painter’s movement, Angelotti stops as though to return to his hiding place, but looks up and cries out in joy as he recognizes Cavaradossi. Smothering his cry, he stretches out his arms towards the painter as towards an unexpected friend in need.) [11] ANGELOTTI You! Cavaradossi! Heaven itself has sent you! Don’t you recognize me? Has prison, then, wrought such a great change in me? CAVARADOSSI (He looks closely at Angelotti’s face and finally re­ mem­bers. Quickly he drops his palette and brushes, and comes down from the scaffold. He looks about warily as he goes up to Angelotti.) Angelotti! The Consul of the lamented Roman Republic! (He runs to close door at right.) ANGELOTTI I have just escaped from Castel Sant’Angelo. CAVARADOSSI I am at your service. TOSCA (from without) Mario! (At Tosca’s call, Cavaradossi motions Angelotti to be quiet.) CAVARADOSSI Go and hide! It’s a jealous woman! Only a moment and I’ll send her away. 53

[12]

tosca

TOSCA Mario! CAVARADOSSI (verso la porta da dove viene la voce) Eccomi! ANGELOTTI (colto da un accesso di debolezza, si appoggia all’im­ palcato.) Sono stremo di forze; più non reggo. CAVARADOSSI (sale sull’impalcato, ne discende col paniere e inco­ raggiando Angelotti, lo spinge verso la cappella) In questo panier v’è cibo e vino. [11] ANGELOTTI Grazie! CAVARADOSSI Presto! (Angelotti entra nella cappella.) TOSCA (sempre fuori, chiamando stizzita) Mario! Mario! Mario! CAVARADOSSI (apre il cancello) Son qui. TOSCA (entra con una specie di violenza, allontana bruscamente Cava­ ra­dossi che vuole abbracciarla, e guarda sospettosa intorno a sé) [13] Perché chiuso? [11] CAVARADOSSI Lo vuole il Sagrestano. TOSCA A chi parlavi? CAVARADOSSI A te! TOSCA Altre parole bisbigliavi. Ov’è?… 54

act one

TOSCA Mario! CAVARADOSSI (in the direction of her voice) Here I am. ANGELOTTI (Feeling suddenly weak, he leans against the scaffold.) I’m faint with exhaustion. I can’t stand up. CAVARADOSSI (He fetches the basket from the top of the scaf­fold and pushes Angelotti towards the chapel with words of encouragement.) There’s food and wine in this basket. [11] ANGELOTTI Thanks! CAVARADOSSI Quick now! (Angelotti enters the chapel.) TOSCA (still from without, calling angrily) Mario! Mario! Mario! CAVARADOSSI (opening the gate) I am here… TOSCA (She bursts in with a kind of violence, thrusting Cavaradossi aside as he tries to embrace her, and looks around suspiciously) [13] Why was it locked? [11] CAVARADOSSI That was the Sacristan’s wish. TOSCA With whom were you talking? CAVARADOSSI With you! TOSCA You were whispering with someone else. Where is she?… 55

tosca

CAVARADOSSI Chi? TOSCA Colei!… Quella donna! Ho udito i lesti passi e un fruscio di vesti… CAVARADOSSI Sogni! TOSCA Lo neghi? CAVARADOSSI (fa per baciarla) Lo nego e t’amo! TOSCA (con dolce rimprovero) Oh! Innanzi alla Madonna. No, Mario mio! Lascia pria che la preghi, che l’infiori. (Si avvicina alla Madonna, dispone con arte intorno a essa i fiori che ha portato con sé, s’inginocchia e prega con molta devozione; [13] poi s’alza e dice a Cavaradossi che si è avviato per riprendere il lavoro:) 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 (che fu sempre sovrappensiero) Stasera? TOSCA È luna piena e il notturno effluvio floreal inebria il cor. Non sei contento? CAVARADOSSI (ancora un po’ distratto e pensieroso) Tanto! TOSCA (colpita da quell’accento) Tornalo a dir! 56

[2]

act one

CAVARADOSSI Who? TOSCA She! That woman! I heard her quick steps and her dress rustling. CAVARADOSSI You’re dreaming! TOSCA Do you deny it? CAVARADOSSI (trying to kiss her) I deny it and I love you! TOSCA (with gentle reproach) Oh no! Before the gentle Madonna, no, Mario! First let me pray and offer these flowers. (She approaches the Madonna, arranges artfully about her the flowers she has brought, and kneels to pray; [13] then she rises to address Mario, who has resumed his work.) Now listen: tonight I am singing, but the programme will be brief. Wait for me at the stage entrance, and we two shall go alone together to your villa. CAVARADOSSI (his thoughts still elsewhere) Tonight? TOSCA It is the time of the full moon, when the heart is drunk with the nightly fragrance of the flowers. Are you not happy? CAVARADOSSI (still somewhat distraught and thoughtful) So very happy! TOSCA (struck by his tone) Say it again! 57

[2]

tosca

CAVARADOSSI Tanto! TOSCA Lo dici male. Lo dici male. (Va a sedere sulla gradinata presso Cavaradossi.) 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, nel lunare albor. Ah… piovete voluttà, volte stellate! Arde in Tosca un folle amor! CAVARADOSSI Ah! M’avvinci nei tuoi lacci, mia sirena… TOSCA Arde a Tosca nel sangue il folle amor! CAVARADOSSI Mia sirena, verrò! TOSCA O mio amore!

58

[14]

act one

CAVARADOSSI So very happy! TOSCA How faintly you say it! (sits on the steps next to Cavaradossi) Do you not long for our little house that is waiting for us, hidden in the grove? Our refuge, sacred to us and unseen by the world, protected with love and mystery? Oh, at your side to listen there to the voices of the night as they rise through the starlit, shadowed silences: from the woods and from the thickets and the dry grass, from the depths of shattered tombs scented with thyme, the night murmurs its thousand loves and false counsels to soften and seduce the heart. Oh wide fields, blossom! And sea winds throb in the moon’s radiance, ah, rain down desire, you vaulted stars! Tosca burns with a mad love! CAVARADOSSI Ah! Sorceress, I am bound in your toils… TOSCA Tosca’s blood burns with a mad love! CAVARADOSSI Sorceress, I will come! TOSCA Oh, my love!

59

[14]

tosca

CAVARADOSSI (guarda verso la parte d’onde uscì Angelotti) Or lasciami al lavoro. [2] TOSCA Mi discacci? CAVARADOSSI Urge l’opra, lo sai. TOSCA Vado! Vado! (Alza gli occhi e vede il quadro.) Chi è quella donna bionda lassù? CAVARADOSSI La Maddalena. Ti piace? TOSCA È troppo bella! CAVARADOSSI (ridendo) Prezioso elogio! TOSCA (sospettosa) Ridi? Quegli occhi cilestrini già li vidi… CAVARADOSSI (con indifferenza) Ce n’è tanti pel mondo! TOSCA (cercando di ricordare) Aspetta… aspetta… È l’Attavanti! CAVARADOSSI Brava! TOSCA (cieca di gelosia) La vedi? T’ama! Tu l’ami? Tu l’ami? CAVARADOSSI Fu puro caso…

60

[11]

act one

CAVARADOSSI (looking towards where Angelotti went out) But now you must let me work.

[2]

TOSCA You dismiss me? CAVARADOSSI You know my work is pressing. TOSCA I am going! (Glancing up she sees the painting.) And who is that blonde woman there? CAVARADOSSI Mary Magdalene. Do you like her? TOSCA She is too beautiful! CAVARADOSSI (laughing) Ah, rare praise! TOSCA (suspicious) You laugh? I have seen those sky-blue eyes before. CAVARADOSSI (unconcerned) There are so many in the world! TOSCA (trying to remember) Wait… wait… It’s the Attavanti! CAVARADOSSI Brava! TOSCA (blindly jealous) Do you see her? She loves you! Do you love her? CAVARADOSSI By pure chance…

61

[11]

tosca

TOSCA Quei passi e quel bisbiglio… Ah… Qui stava pur ora! CAVARADOSSI Vien via! TOSCA Ah, la civetta! A me, a me! CAVARADOSSI (serio) La vidi ieri, ma fu puro caso… A pregar qui venne… Non visto la ritrassi. TOSCA Giura! CAVARADOSSI Giuro! TOSCA (sempre con gli occhi rivolti al quadro) Come mi guarda fiso! CAVARADOSSI Vien via! TOSCA Di me beffarda, ride. CAVARADOSSI Follia! (La tiene presso di sé, fissandola.) TOSCA (insistente) Ah, quegli occhi… CAVARADOSSI Quale occhio al mondo può star di paro all’ardente occhio tuo nero? È qui 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? 62

[15]

act one

TOSCA Those footsteps and whispers… Ah… She was here just now… CAVARADOSSI Come here! TOSCA The shameless flirt! And to me! CAVARADOSSI (serious) By pure chance I saw her yesterday… she came here to pray… and I, unnoticed, painted her. TOSCA Swear! CAVARADOSSI I swear! TOSCA (her eyes still on the painting) How intently she stares at me! CAVARADOSSI Come away! TOSCA She taunts and mocks me. CAVARADOSSI What foolishness! (holding her close and gazing at her) TOSCA (insisting) Ah, those eyes… CAVARADOSSI What eyes in the world can compare with your black and glowing eyes? It is in them that my whole being fastens, eyes soft with love and rich with anger… Where in the whole world are eyes to compare with your black eyes? 63

[15]

tosca

TOSCA (rapita, appoggiando la testa alla spalla di Cavaradossi) Oh, come la sai bene l’arte di farti amare! (sempre insistendo nella sua idea) Ma… falle gli occhi neri! CAVARADOSSI Mia gelosa! TOSCA Sì, lo sento, ti tormento senza posa. 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!

[7]

TOSCA Certa sono del perdono se tu guardi al mio dolor! Dilla ancora la parola che consola… dilla ancora!

[7]

CAVARADOSSI Mia vita, amante inquieta, dirò sempre, ‘Floria, t’amo!’ Ah! l’alma acquieta, sempre ‘t’amo!’ ti dirò! TOSCA (sciogliendosi, paurosa d’esser vinta) Dio! Quante peccata! M’hai tutta spettinata. 64

[7]

act one

TOSCA (won over, resting her head on his shoulder) Oh, how well you know the art of capturing women’s hearts! (still persisting in her idea) But let her eyes be black ones! CAVARADOSSI My jealous Tosca! TOSCA Yes, I feel it, I torment you unceasingly. CAVARADOSSI My jealous Tosca! TOSCA I know you would forgive me if you knew my grief. CAVARADOSSI You are my idol, Tosca. All things in you delight me: your storming anger and your pulsing love! TOSCA I know you would forgive me if you knew my grief. Say again those consoling words… Say them again! CAVARADOSSI My life, my troubled one, beloved. I shall always say: ‘I love you, Floria.’ Set your uneasy heart at rest, I shall always say: ‘I love you.’ TOSCA (disengaging, lest she be won completely) Good heavens! What a sin! You have undone my hair. 65

[7]

[7]

[7]

tosca

CAVARADOSSI Or va’, lasciami! TOSCA Tu fino a stasera 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 (con dolce rimprovero, vedendo rispuntare la gelosia) Ancora? TOSCA (cadendo nelle sue braccia e porgendogli la guancia) No, perdona! CAVARADOSSI (sorridendo) Davanti alla Madonna? TOSCA È tanto buona!… Ma falle gli occhi neri! (Un bacio, e Tosca esce correndo. Appena uscita Tosca, Cavaradossi sta ascoltandone i passi allontanarsi, poi con precauzione socchiude l’uscio e guarda fuori. Visto tutto tranquillo, corre alla cappella. [2] Angelotti appare subito dietro alla cancellata.) CAVARADOSSI (aprendo la cancellata ad Angelotti, che natural­ mente ha dovuto sentire il dialogo precedente) È buona la mia Tosca, ma, credente al confessor, nulla tiene celato, ond’io mi tacqui. È cosa più prudente. ANGELOTTI Siam soli? CAVARADOSSI Sì. Qual è il vostro disegno? 66

act one

CAVARADOSSI Now you must leave me! TOSCA You stay at your work until this evening. And will you promise that, blonde locks or black, by chance or otherwise, no woman shall come here to pray? CAVARADOSSI I swear it, beloved. Go now! TOSCA How you do hurry me along! CAVARADOSSI (mildly reproving, as he sees her jealousy return) Come, again? TOSCA (falling into his arms, with upturned cheek) No, forgive me! CAVARADOSSI (smiling) Before the Madonna? TOSCA She is so good! But let her eyes be black ones! (A kiss, and Tosca hurries away. Cavaradossi listens to her with­ drawing footsteps, then carefully opens the door halfway and peers out. Seeing that all is clear, he runs to the chapel, and Angelotti at [2] once appears from behind the gate.) CAVARADOSSI (opening the gate for Angelotti, who has naturally heard the foregoing dialogue) She is good, my Tosca, but, as she trusts her confessor, she hides nothing. So I must say nothing. It’s wiser so. ANGELOTTI Are we alone? CAVARADOSSI Yes. What is your plan? 67

tosca

ANGELOTTI A norma degli eventi, uscir di Stato o star celato in Roma. Mia sorella…

[3]

CAVARADOSSI L’Attavanti? ANGELOTTI Sì; ascose un muliebre abbigliamento là sotto l’altare, vesti, velo, ventaglio. Appena imbruni indosserò quei panni… CAVARADOSSI Or comprendo! Quel fare circospetto e il pregante fervore in giovin donna e bella m’avean messo in sospetto di qualche occulto amor! Or comprendo! Era amor di sorella!

[6]

ANGELOTTI Tutto ella ha osato onde sottrarmi a Scarpia scellerato! CAVARADOSSI Scarpia? Bigotto satiro che affina colle devote pratiche la foia libertina e strumento al lascivo talento fa il confessore e il boia! La vita mi costasse, vi salverò! Ma indugiar fino a notte è mal sicuro. ANGELOTTI Temo del sole! CAVARADOSSI La cappella mette a un orto mal chiuso, poi c’è un canneto che va lungi pei campi a una mia villa. 68

[1]

act one

ANGELOTTI As things stand now, either to flee the State or stay in hiding in Rome. My sister…

[3]

CAVARADOSSI The Attavanti? ANGELOTTI Yes, she hid some women’s clothes under the altar there, a dress, a veil, a fan. As soon as it gets dark I’ll put these garments on… CAVARADOSSI Now I understand! That prudent behaviour and that fervent prayer in so young and beautiful a woman had made me suspect some secret love! Now I understand! It was the love of a sister! ANGELOTTI She has dared all to save me from that scoundrel Scarpia! CAVARADOSSI Scarpia? That licentious bigot who exploits the uses of religion as refinements for his libertine lust, and makes both the confessor and the hangman the servant of his wantonness! I’ll save you, should it cost my life! But delaying until nightfall is not safe. ANGELOTTI I fear the sunlight! CAVARADOSSI The chapel gives onto a vegetable garden: beyond that is a cane field that winds along through meadows to my villa. 69

[6]

[1]

tosca

ANGELOTTI M’è nota. CAVARADOSSI Ecco la chiave; innanzi sera io vi raggiungo; portate con voi le vesti femminili. ANGELOTTI (raccoglie in fascio le vestimenta sotto l’altare) Ch’io le indossi? CAVARADOSSI Per or non monta, il sentiero è deserto. ANGELOTTI (per uscire) Addio! CAVARADOSSI (accorrendo verso Angelotti) Se urgesse il periglio, correte al pozzo del giardin. L’acqua è nel fondo, ma a mezzo della canna, un picciol varco guida ad un antro oscuro, rifugio impenetrabile e sicuro! (Un colpo di cannone; i due si guardano agitatissimi.) [2]

ANGELOTTI Il cannon del castello! CAVARADOSSI Fu scoperta la fuga! Or Scarpia i suoi birri sguinzaglia! ANGELOTTI Addio! CAVARADOSSI (con subita risoluzione) Con voi verrò. Staremo all’erta! ANGELOTTI Odo qualcun! CAVARADOSSI Se ci assalgon, battaglia! 70

act one

ANGELOTTI Yes, I know. CAVARADOSSI Here is the key. Before evening I shall join you there. Take the woman’s costume with you. ANGELOTTI (bundling together the clothes from under the altar) Should I put them on? CAVARADOSSI You needn’t now, the path’s deserted. ANGELOTTI (about to go) Goodbye! CAVARADOSSI (running towards him) If there’s any sign of danger, go to the garden well. There’s water at the bottom, but halfway down, a little passage leads to a dark room. It’s a sure, impenetrable hiding place! (The report of a cannon. The two men look at each other in alarm.) [2] ANGELOTTI The cannon of the castle! CAVARADOSSI They’ve discovered your escape! Now Scarpia lets loose his pack of spies! ANGELOTTI Goodbye! CAVARADOSSI (with sudden resolve) I will come with you. We must be on guard! ANGELOTTI Someone’s coming! CAVARADOSSI If we’re attacked we fight! 71

tosca

(Escono rapidamente dalla cappella. Entra il Sagrestano correndo, [4, 5] tutto scalmanato, gridando:) SAGRESTANO Sommo giubilo, Eccellenza! (Guarda verso l’impalcato e rimane sorpreso di non trovarvi neppure questa volta il pittore.) Non c’è più! Ne son dolente! Chi contrista un miscredente si guadagna un’indulgenza! (Accorrono da ogni parte chierici, allievi e cantori della cappella. Tutti costor entrano tumultuosamente.) Tutta qui la cantoria! Presto! (Altri allievi entrano in ritardo e alla fine si radunano tutti.) ALLIEVI (colla massima confusione) Dove? SAGRESTANO (spinge alcuni chierici) In sagrestia. ALCUNI ALLIEVI Ma che avvenne? SAGRESTANO Nol sapete? Bonaparte… scellerato… Bonaparte… ALTRI Ebben? Che fu? SAGRESTANO Fu spennato, sfracellato e piombato a Belzebù! CORO Chi lo dice? È sogno! È fola! 72

[16]

act one

(They leave quickly by the chapel. Enter the Sacristan running, [4, 5] bustling and shouting.) SACRISTAN Joyful news, Excellency! (He looks towards the scaffold, and is surprised that once again the painter is not there.) He’s gone. I am disappointed. He who aggrieves a misbeliever earns an indulgence! (Priests, pupils and singers of the chapel enter tumultuously from every direction.) The whole choir is here! Hurry! (Other pupils arrive tardily, and at length all group themselves together.) [16] PUPILS (in great confusion) Where? SACRISTAN (pushing some of the priests along) In the sacristy. SOME PUPILS But what’s happened? SACRISTAN You haven’t heard? Bonaparte… the scoundrel… Bonaparte… OTHERS Well? What? SACRISTAN He was plucked and quartered and thrown to Beelzebub! CHORUS Who says so? It’s a dream! It’s nonsense! 73

tosca

SAGRESTANO È veridica parola; or ne giunse la notizia! CORO Si festeggi la vittoria! SAGRESTANO E questa sera gran fiaccolata, veglia di gala a Palazzo Farnese, ed un’apposita nuova cantata con Floria Tosca! E nelle chiese inni al Signor! Or via a vestirvi, non più clamor! Via, via in sagrestia! CORO (ridendo e gridando) Doppio soldo…Te Deum! Gloria! Viva il Re! Si festeggi la vittoria!

[17]

[16, 17]

(Le loro grida sono al colmo, allorché una voce ironica tronca bruscamente quella gazzarra volgare di canti e risa. È Scarpia; [1] dietro al lui entrano Spoletta e alcuni sbirri.) SCARPIA Un tal baccano in chiesa! Bel rispetto! SAGRESTANO (balbettando impaurito) Eccellenza, il gran giubilo… SCARPIA Apprestate per il Te Deum. (Tutti s’allontanano mogi; anche il Sagrestano fa per cavarsela, ma Scarpia bruscamente lo trattiene.) Tu resta.

74

act one

SACRISTAN It’s a true report. The news just reached us. CHORUS Let’s celebrate the victory! SACRISTAN And tonight a mighty torch procession, a gala evening at the Palazzo Farnese, and a new cantata for the great occasion with Floria Tosca! And in the churches, hymns to the Lord! Now get along and dress, and no more shouting. On with you to the sacristy! CHORUS (laughing and shouting gaily) Double pay… Te Deum… Gloria! Long live the King! Let’s celebrate the victory!

[17]

[16, 17]

(Their shouting is at its height when an ironic voice cuts short the uproar of songs and laughter. It is Scarpia. Behind him, Spoletta [1] and several policemen) SCARPIA Such a hubbub in church! A fine respect! SACRISTAN (stammering with fright) Excellency, the joyous news… SCARPIA Prepare for the Te Deum. (All depart crestfallen; even the Sacristan hopes to slip away, but Scarpia brusquely detains him.) You stay here!

75

tosca

SAGRESTANO (impaurito) Non mi muovo! SCARPIA (a Spoletta) E tu va’, fruga ogni angolo, raccogli ogni traccia. SPOLETTA Sta bene! SCARPIA (ad altri sbirri) Occhio alle porte, senza dar sospetti! (al Sagrestano) Ora a te… Pesa le tue risposte. Un prigionier di Stato fuggì pur ora da Castel Sant’Angelo… S’è rifugiato qui.

[12]

SAGRESTANO Misericordia! SCARPIA Forse c’è ancora. Dov’è la cappella degli Attavanti? SAGRESTANO Eccola. (Va al cancello e lo vede socchiuso.) Aperta! Arcangeli! E un’altra chiave! SCARPIA Buon indizio. Entriamo. (Entrano nella cappella, poi ritornano; Scarpia, assai contrariato, ha fra le mani un ventaglio chiuso che agita nervosamente.) [12, 2] Fu grave sbaglio quel colpo di cannone! Il mariuolo 76

act one

SACRISTAN (cowering) I shan’t move! SCARPIA (to Spoletta) And you search every corner, track down every clue. SPOLETTA Very well. SCARPIA (to other policemen) Keep watch at the doors, without arousing suspicion! (to Sacristan) Now, as for you… weigh your answers well. A prisoner of State has just escaped from Castel Sant’Angelo. He took refuge here.

[12]

SACRISTAN Heaven help us! SCARPIA He may still be here. Where is the chapel of the Attavanti? SACRISTAN That is it there. (He goes to the gate and finds it half-open.) It’s open… Merciful Heaven! And there’s another key! SCARPIA A good sign. Let’s go in. (They enter the chapel and then return. Scarpia, baulked, has a fan [12, 2] in his hands which he shakes nervously.) It was a bad mistake to fire the cannon. The cheat 77

tosca

spiccato ha il volo, ma lasciò una preda preziosa, un ventaglio. Qual complice il misfatto preparò? (Resta pensieroso, poi guarda attentamente il ventaglio; ad un tratto egli vi scorge uno stemma.) La Marchesa Attavanti! Il suo stemma… (Guarda intorno, scrutando ogni angolo della chiesa; i suoi occhi si arrestano sull’impalcato, sugli arnesi del pittore, sul quadro… e il noto viso dell’Attavanti gli appare riprodotto nel volto della santa.) Il suo ritratto!

[10]

(al Sagrestano) Chi fe’ quelle pitture? SAGRESTANO Il cavalier Cavaradossi.

[6]

SCARPIA Lui! (Uno degli sbirri che seguì Scarpia, torna dalla cappella portando il paniere che Cavaradossi diede ad Angelotti.) SAGRESTANO Numi! Il paniere! SCARPIA (seguitando le sue riflessioni) Lui! L’amante di Tosca! Un uom sospetto! Un volterrian! SAGRESTANO (che andò a guardare il paniere) Vuoto! Vuoto! SCARPIA Che hai detto? (Vede lo sbirro col paniere.) Che fu? 78

act one

has flown the roost, but left behind a precious clue, a fan. Who was the accomplice in his flight? (He puzzles over the situation, then examines the fan; suddenly he notices the coat of arms.) The Marchesa Attavanti! It’s her crest… (He looks around, scrutinizing every corner of the church. His gaze rests on the scaffold, the painter’s tools, the painting… and he recognizes the familiar features of the Attavanti in the face of the saint.) Her portrait!

[10]

(to the Sacristan) Who painted that picture? SACRISTAN The Cavalier Cavaradossi.

[6]

SCARPIA He! (One of the policemen returns from the chapel bringing the basket which Cavaradossi gave to Angelotti.) SACRISTAN Heavens! The basket! SCARPIA (pursuing his own thoughts) He! Tosca’s lover! A suspect character! A revolutionary! SACRISTAN (peering into the basket) Empty! Empty! SCARPIA What do you say? (on seeing the policeman with the basket) What’s that? 79

tosca

SAGRESTANO (prendendo il paniere) Si ritrovò nella cappella questo panier.

[4]

SCARPIA Tu lo conosci? SAGRESTANO Certo! (esitante e pauroso) È il cesto del pittor… ma… nondimeno… SCARPIA Sputa quello che sai. SAGRESTANO Io lo lasciai ripieno di cibo prelibato… Il pranzo del pittor! SCARPIA (attento, inquirente per scoprir terreno) Avrà pranzato! SAGRESTANO Nella cappella? Non ne avea la chiave, né contava pranzar, disse egli stesso. Ond’io l’avea già messo al riparo. Libera me Domine! (Mostra dove avea riposto il paniere e ve lo lascia.) SCARPIA (fra sé) Or tutto è chiaro… La provvista del sacrista d’Angelotti fu la preda!

[2]

(scorgendo Tosca che entra frettolosa) Tosca? Che non mi veda.

[7]

(Ripara dietro la colonna dov’è la pila dell’acqua benedetta.) Per ridurre un geloso allo sbaraglio Jago ebbe un fazzoletto, ed io un ventaglio! 80

act one

SACRISTAN (taking the basket) They found this basket in the chapel.

[4]

SCARPIA Have you seen it before? SACRISTAN Yes, indeed! (hesitant and fearful) It’s the painter’s basket… but… even so… SCARPIA Spit out what you know! SACRISTAN I left it for him filled with excellent food… The painter’s meal! SCARPIA (attentive, seeking to discover more) Then he must have eaten! SACRISTAN In the chapel? No. He had no key, nor did he want to eat. He told me so himself. So I put the basket safely to one side. Libera me Domine! (He shows where he put the basket, and leaves it there.) SCARPIA (to himself) It’s all clear now… The Sacristan’s food became Angelotti’s booty!

[2]

(He sees Tosca, who enters in haste.) Tosca? She must not see me. (He hides behind the column with the basin of holy water.) Iago had a handkerchief, and I a fan to drive a jealous lover to distraction! 81

[7]

tosca

TOSCA (corre al palco sicura di trovare Cavaradossi e rimane sorpresa di non vederlo.) Mario! Mario! SAGRESTANO (che si trova ai piedi dell’impalco) Il pittor Cavaradossi? Chi sa dove sia? Svanì, sgattaiolò per sua stregoneria. (Se la svigna.) TOSCA Ingannata? No, no… Tradirmi egli non può! Tradirmi egli non può! SCARPIA (ha girato la colonna e si presenta a Tosca, sorpresa del suo subito apparire. Intinge le dita nella pila e le offre l’acqua benedetta; fuori suonano le campane che invitano alla chiesa) Tosca divina, [18] la mano mia la vostra aspetta, piccola manina, non per galanteria ma per offrirvi l’acqua benedetta. TOSCA (tocca le dita di Scarpia e si fa il segno della croce) Grazie, Signor! (Poco a poco entrano in chiesa, e vanno nella navata principale popolani, borghesi, ciociare, trasteverine, soldati, pecorari, ciociari, mendicanti, ecc.; poi un Cardinale, col Capitolo, si reca all’altare maggiore; la folla, rivolta verso l’altare maggiore, si accalca nella navata principale.) SCARPIA Un nobile esempio è il vostro; al cielo piena di santo zelo attingete dell’arte il magistero che la fede ravviva! TOSCA (distratta e pensosa) Bontà vostra. 82

act one

TOSCA (She runs towards the scaffold sure of finding Cavaradossi, and is taken aback at not seeing him there) Mario! Mario! SACRISTAN (at the foot of the scaffold) The painter Cavaradossi? Who knows where the heretic is; and with whom? He’s slipped away, evaporated by his own witchcraft. (He slips away.) TOSCA Deceived? No… He could not betray me! SCARPIA (circling the column, he advances towards the astonished Tosca. He dips his finger in the basin, and offers her the holy water. Bells sound outside, summoning the faithful to the church.) Divine Tosca, [18] my hand awaits your delicate hand. Not out of idle gallantry but to offer holy water. TOSCA (touching Scarpia’s hand and crossing herself) Thank you, sir! (Slowly the central nave of the church fills with the faithful – people of every station, rich and poor, townsmen and peasants, soldiers and beggars. Then a cardinal, with the head of the convent, proceeds to the main altar. Before that altar, the crowd jams into the central nave.) SCARPIA It is a noble example that you give; filled with holy zeal, you draw from Heaven the mastery of art to revive the faith of men. TOSCA (distraught and preoccupied) You are too kind. 83

tosca

SCARPIA Le pie donne son rare… Voi calcate la scena… (con intenzione) e in chiesa ci venite per pregar. TOSCA (sorpresa) Che intendete? SCARPIA E non fate come certe sfrontate (Indica il ritratto.) che han di Maddalena viso e costumi… e vi trescan d’amore! TOSCA (scatta pronta) Che? D’amore? Le prove! Le prove! SCARPIA (mostra il ventaglio) È arnese di pittore questo? TOSCA (lo afferra) Un ventaglio! Dove stava? SCARPIA Là su quel palco. Qualcun venne certo a sturbar gli amanti ed essa nel fuggir perdé le penne!

[10]

TOSCA (esaminando il ventaglio) La corona! Lo stemma! È l’Attavanti! Presago sospetto! SCARPIA (fra sé) Ho sortito l’effetto! TOSCA (trattenendo a stento le lagrime, dimentica del luogo e di Scarpia) Ed io venivo a lui tutta dogliosa per dirgli: invan stasera il ciel s’infosca, l’innamorata Tosca è prigioniera… 84

act one

SCARPIA Pious women are so rare… Your life’s the stage… (significantly) yet you come to church to pray. TOSCA (surprised) What do you mean? SCARPIA And you are not as other strumpets are (He points to the portrait.) who have the dress and face of Magdalene and come to scheme in love. TOSCA (at once aroused) What? In love? Your proof? SCARPIA (showing her the fan) Is this a painter’s tool? TOSCA (grabbing it) A fan! Where was it? SCARPIA There on the scaffold. Obviously somebody surprised the lovers, and she lost her feathers in her flight!

[10]

TOSCA (studying the fan) The crown! The crest! It’s the Attavanti’s! Oh, prophetic doubt! SCARPIA (to himself) I’ve hit the mark! TOSCA (forgetting both the place and Scarpia, she tries to hold back her tears) And I came sadly here to tell him that in vain, tonight, the sky will darken: for the lovesick Tosca is a prisoner… 85

tosca

SCARPIA (fra sé) Già il veleno l’ha rosa! TOSCA …dei regali tripudi, prigioniera! SCARPIA (fra sé) Già il veleno l’ha rosa! (mellifluo a Tosca) O che v’offende, dolce Signora? Una ribelle lagrima scende sovra le belle guancie e le irrora; dolce signora, che mai v’accora?

[18]

TOSCA Nulla! SCARPIA (insinuante) Darei la vita per asciugar quel pianto.

[18]

TOSCA (non ascoltandolo) Io qui mi struggo e intanto d’altra in braccio le mie smanie deride!

[12]

SCARPIA (fra sé) Morde il veleno! TOSCA (sempre più crucciosa) Dove son? Potessi coglierli, i traditori. Oh qual sospetto! Ai doppi amori è la villa ricetto! Traditor! Traditor! (con immenso dolore) Oh mio bel nido insozzato di fango! 86

act one

SCARPIA (to himself) The poison bites home already! TOSCA …a prisoner of the royal jubilee! SCARPIA (to himself) The poison bites home already! (sweetly to Tosca) Oh, gracious lady, what avails you? For I see a rebel tear mars your fair cheek and moistens it. Oh, gracious lady, why are you grieving?

[18]

TOSCA It is nothing! SCARPIA (insinuating) I would give my life to wipe away those tears.

[18]

TOSCA (unheeding) Here I am heartbroken, while he, in another’s arms, mocks at my anguish.

[12]

SCARPIA (to himself) The poison bites deep. TOSCA (her anger rising) Where are they? Could I but catch the traitors! Oh, dark suspicion! Double loves now nest inside this villa! Oh, traitor! (with immense grief) Oh, my fair nest befouled with mud! 87

tosca

(con pronta risoluzione) Vi piomberò inattesa.

[2]

(Rivolta al quadro, minacciosa.) Tu non l’avrai stasera. Giuro! SCARPIA (scandalizzato, quasi rimproverandola) In chiesa! TOSCA Dio mio perdona. Egli vede ch’io piango! (Parte in grande agitazione; [7] Scarpia l’accompagna, fingendo di rassicurarla. Appena uscita Tosca, Scarpia ritorna presso la colonna e fa un cenno.) SCARPIA (a Spoletta che sbuca di dietro la colonna:) Tre sbirri, una carrozza… Presto, seguila dovunque vada, non visto. Provvedi! SPOLETTA Sta bene. Il convegno? SCARPIA Palazzo Farnese! (Spoletta parte rapidamente con tre sbirri.) Va’, Tosca! Nel tuo cor s’annida Scarpia!… Va’, Tosca! È Scarpia che scioglie a volo il falco della tua gelosia. Quanta promessa nel tuo pronto sospetto! Nel tuo cor s’annida Scarpia!… Va’, Tosca! (Scarpia s’inchina e prega al passaggio del Cardinale.) CORO Adjutorium nostrum in nomine Domini qui fecit cœlum et terram. Sit nomen Domini benedictum et hoc nunc et usque in sæculum. 88

[19]

act one

(with quick resolve) I’ll fall upon them unexpected!

[2]

(She turns threateningly towards the portrait.) You shall not have him tonight, I swear! SCARPIA (with a scandalized air and tone of rebuke) In church! TOSCA God will pardon me. He sees me weeping! (She leaves in great distress, [7] Scarpia accompanying her and pretending to reassure her. As she leaves, he returns to the column and makes a sign.) SCARPIA (to Spoletta, who emerges from behind the column:) Three men and a carriage… Quick, follow wherever she goes! And take care! SPOLETTA Yes, Sir. And where do we meet? SCARPIA The Palazzo Farnese! (Spoletta hurries out with three policemen.) Go, Tosca! Now Scarpia digs a nest within your heart! Go, Tosca! Scarpia now sets loose the soaring falcon of your jealousy! How great a promise in your quick suspicions! Now Scarpia digs a nest within your heart! Go, Tosca! (Scarpia kneels and prays as the cardinal passes.) CHORUS Adjutorium nostrum in nomine Domini qui fecit cœlum et terram. Sit nomen Domini benedictum et hoc nunc et usque in sæculum. 89

[19]

tosca

SCARPIA A doppia mira tendo il voler, né il capo del ribelle è la più preziosa. Ah, di quegli occhi vittoriosi veder la fiamma illanguidir con spasimo d’amor, fra le mie braccia illanguidir d’amor… l’uno al capestro, l’altra fra le mie braccia…

[19]

CORO Te Deum laudamus: Te Dominum confitemur! (Il canto sacro dal fondo della chiesa scuote Scarpia, come sveglian­ dolo da un sogno. Si rimette, fa il segno della croce guardandosi intorno, e dice:) SCARPIA Tosca, mi fai dimenticare Iddio!… (S’inginocchia e prega devotamente.) CORO, SCARPIA Te æternum Patrem omnis terra veneratur!

[1]

90

act one

SCARPIA My will takes aim now at a double target, nor is the rebel’s head the bigger prize… Ah, to see the flame of those imperious eyes grow faint and languid with passion… For him, the rope, and for her, my arms…

[19]

CHORUS Te Deum laudamus: Te Dominum confitemur! (The sacred chant from the back of the church startles Scarpia, as though awakening him from a dream. He collects himself, makes the sign of the cross, and says:) SCARPIA Tosca, you make me forget God! (He kneels and prays devoutly.) CHORUS, SCARPIA Te æternum Patrem omnis terra veneratur!

[1]

91

ATTO SECONDO La camera di Scarpia al piano superiore del Palazzo Farnese. (Tavola imbandita. Un’ampia finestra verso il cortile del palazzo. È notte. Scarpia è seduto alla tavola e vi cena. Interrompe a tratti la cena per riflettere. Guarda l’orologio; è smanioso e [20] pensieroso.) SCARPIA Tosca è un buon falco! Certo a quest’ora i miei segugi le due prede azzannano! Doman sul palco vedrà l’aurora Angelotti e il bel Mario al laccio pendere. (Suona un campanello. Entra Sciarrone.) Tosca è a palazzo? SCIARRONE Un ciambellan ne uscia pur ora in traccia. SCARPIA (accenna la finestra) Apri. Tarda è la notte. (Dal piano inferiore, ove la Regina di Napoli Maria Carolina dà una grande festa in onore di Melas, si ode il suonare d’un’or­ [21] chestra.) Alla cantata ancor manca la diva. E strimpellan gavotte. (a Sciarrone) Tu attenderai la Tosca in sull’entrata. Le dirai ch’io l’aspetto 92

ACT TWO Scarpia’s apartment on an upper floor of the Palazzo Farnese. (A table set for supper. A wide window opening on the palace courtyard. It is night. Scarpia is at the table taking his supper; every now and again he pauses to reflect. He looks at his watch; he is [20] angry and preoccupied.) SCARPIA Tosca is a good falcon! Surely by this time my hounds have fallen on their double prey! And tomorrow’s dawn will see Angelotti on the scaffold and the fine Mario hanging from a noose. (He rings a bell. Enter Sciarrone.) Is Tosca in the palace? SCIARRONE A chamberlain has just gone to look for her. SCARPIA (He points towards the window) Open the window. It is late. (The sound of an orchestra is heard from the lower floor, where Maria Carolina, the Queen of Naples, is giving a party in honour [21] of Melas.) The diva’s still missing from the concert. And they strum gavottes. (to Sciarrone) Wait for Tosca at the entrance: tell her I shall expect her 93

tosca

finita la cantata… O meglio… (Si alza e va a scrivere un biglietto.) Le darai questo biglietto. (Sciarrone esce. Scarpia siede ancora a tavola.) Ella verrà per amor del suo Mario! Per amor del suo Mario al piacer mio s’arrenderà. Tal dei profondi amori è la profonda miseria. Ha più forte sapore la conquista violenta che il mellifluo consenso. Io di sospiri e di lattiginose albe lunari poco mi appago. Non so trarre accordi di chitarra, né oroscopo di fior, né far l’occhio di pesce, o tubar come tortora! Bramo. La cosa bramata perseguo, me ne sazio e via la getto. Volto a nuova esca. Dio creò diverse beltà, vini diversi. Io vo’ gustar quanto più posso dell’opra divina!

[1] [22]

(Beve. Sciarrone entra.) SCIARRONE Spoletta è giunto. SCARPIA Entri. In buon punto. (Spoletta entra. Scarpia lo interroga senza alzare gli occhi dalla sua cena.) O galantuomo, come andò la caccia? SPOLETTA (a parte) Sant’Ignazio m’aiuta! (a Scarpia) 94

act two

after the concert. Or rather… (He rises and goes to write a note) Give her this note. (Exit Sciarrone. Scarpia resumes his seat at the table.) She will come for love of her Mario! And for love of her Mario she will yield to my pleasure. Such is the profound misery of profound love… For myself the violent conquest has stronger relish than the soft surrender. I take no delight in sighs or vows exchanged at misty lunar dawn. I know not how to draw harmony from guitars, or horoscopes from flowers, nor am I apt at dalliance, or cooing like the turtle dove. I crave, I pursue the craved thing, sate myself and cast it by, and seek new bait. God made diverse beauties as he made diverse wines, and of these God-like works I mean to taste my full.

[1] [22]

(He drinks. Enter Sciarrone.) SCIARRONE Spoletta’s here. SCARPIA Show him in. In good time, too. (Enter Spoletta. Scarpia questions him without looking up from his supper.) Well, my fine man, how did the hunt go? SPOLETTA (aside) Saint Ignatius help me! (to Scarpia) 95

tosca

Della signora seguimmo la traccia. Giunti a un’erma villetta tra le fratte perduta, ella v’entrò. Ne uscì sola ben presto. Allor scavalco lesto il muro del giardin coi miei cagnotti e piombo in casa… SCARPIA Quel bravo Spoletta! SPOLETTA Fiuto! Razzolo! Frugo! SCARPIA (si avvede dell’indecisione di Spoletta e si leva ritto, pallido d’ira, le ciglia corrugate) Ahi! L’Angelotti? SPOLETTA Non s’è trovato. SCARPIA (furente) Ah cane! Ah traditore! Ceffo di basilisco, alle forche! SPOLETTA Gesù! (cercando scongiurare la collera di Scarpia) C’era il pittore… SCARPIA Cavaradossi? SPOLETTA (accenna di sì, ed aggiunge pronto:) Ei sa dove l’altro s’asconde. Ogni suo gesto, ogni accento, tradìa tal beffarda ironia ch’io lo trassi in arresto! SCARPIA (con sospiro di soddisfazione) Meno male! 96

[23]

act two

We kept on the lady’s trail, following her to a lonely villa lost in the woods. She entered there and soon came out alone. At once with my dogs I vaulted over the garden wall and burst into the house. SCARPIA Well done, Spoletta! SPOLETTA I sniff… I scratch… I rummage SCARPIA (sensing Spoletta’s hesitation, he rises scowling and pale with anger) And Angelotti? SPOLETTA Nowhere to be found. SCARPIA (in a rage) Ah, dog! Traitor! Snout of a snake. To the gallows! SPOLETTA Jesus! (trying to appease Scarpia’s wrath) The painter was there… SCARPIA Cavaradossi? SPOLETTA (He nods and quickly adds:) And he knows where the other is. He showed such taunting irony in every word and gesture that I arrested him. SCARPIA (with a sigh of satisfaction) Not bad, not bad. 97

[23]

tosca

SPOLETTA (accenna all’anticamera) Egli è là. (Scarpia passeggia, meditando; a un tratto si arresta; dall’aperta finestra odesi la cantata eseguita dai cori nella sala della Regina.) SCARPIA (a Spoletta) Introducete il Cavaliere. (Spoletta esce. A Sciarrone) A me Roberti e il Giudice del Fisco. (Sciarrone esce. Scarpia siede di nuovo. Spoletta e quattro sbirri introducono Mario Cavaradossi; poi Roberti, esecutore di giustizia, il Giudice del Fisco con uno Scrivano e Sciarrone entrano.) CAVARADOSSI (alteramente) Tal violenza! SCARPIA (con studiata cortesia) Cavalier, vi piaccia accomodarvi. CAVARADOSSI Vo’ saper… SCARPIA (accennando una sedia al lato opposto della tavola) Sedete. CAVARADOSSI (rifiutando) Aspetto. SCARPIA E sia. V’è noto che un prigione… (Odesi la voce di Tosca che prende parte alla cantata.) CAVARADOSSI La sua voce! SCARPIA (che si era interrotto all’udire la voce di Tosca) V’è noto che un prigione oggi è fuggito da Castel Sant’Angelo? CAVARADOSSI Ignoro. 98

[23]

act two

SPOLETTA (waving towards the antechamber) He is there. (Scarpia paces up and down, pondering. He stops abruptly as he hears, through the open window, the choral cantata being sung in the Queen’s apartment.) SCARPIA (to Spoletta) Bring in the Cavalier. (Exit Spoletta. To Sciarrone) Fetch Roberti and the Judge. (Exit Sciarrone. Scarpia sits down again. Spoletta and four bailiffs bring in Mario Cavaradossi; then enter Roberti the executioner, the Judge with a Scribe, and Sciarrone.) CAVARADOSSI (with disdain) Such violence. SCARPIA (with studied courtesy) Cavalier, please be seated. CAVARADOSSI I want to know… SCARPIA (indicating a chair at the other side of the table) Be seated. CAVARADOSSI (declining) I’ll stand. SCARPIA As you wish. Are you aware that a prisoner… (Tosca’s voice is heard in the cantata.) CAVARADOSSI Her voice! SCARPIA (who has paused on hearing Tosca’s voice) You are aware that a prisoner fled today from Castel Sant’Angelo? CAVARADOSSI I did not know it. 99

[23]

tosca

SCARPIA Eppur, si pretende che voi l’abbiate accolto in Sant’Andrea, provvisto di cibo e di vesti… CAVARADOSSI (risoluto) Menzogna! SCARPIA (continuando a mantenersi calmo) …e guidato ad un vostro podere suburbano. CAVARADOSSI Nego. Le prove? SCARPIA (mellifluo) Un suddito fedele… CAVARADOSSI Al fatto. Chi m’accusa? I vostri sbirri invan frugâr la villa. SCARPIA Segno che è ben celato. CAVARADOSSI Sospetti di spia! SPOLETTA (offeso) Alle nostre ricerche egli rideva… CAVARADOSSI E rido ancor. E rido ancor! SCARPIA (con accento severo) Questo è luogo di lagrime! Badate! Or basta! Rispondete! (Si alza e chiude stizzito la finestra per non essere disturbato dai canti che hanno luogo al piano sottostante; poi si volge imperioso a Cavaradossi:) Ov’è Angelotti?

100

act two

SCARPIA And yet it’s reported that you sheltered him in Sant’Andrea, gave him food and clothing… CAVARADOSSI (unflinching) Lies. SCARPIA (still quite calm) …and took him to a suburban place of yours. CAVARADOSSI I deny that. What proof have you? SCARPIA (sweetly) A faithful servant… CAVARADOSSI The facts! Who’s my accuser? In vain your spies ransacked my villa. SCARPIA Proof that he is hidden well. CAVARADOSSI Suspicions of a spy! SPOLETTA (offended) He laughed at our questions… CAVARADOSSI And I laugh still! SCARPIA (harshly) Beware! This is a place for tears! Enough now. Answer me! (He rises and angrily shuts the window to be undisturbed by the singing from the floor below, then turns imperiously to Cavaradossi.) Where is Angelotti?

101

tosca

CAVARADOSSI Non lo so. SCARPIA Negate avergli dato cibo? CAVARADOSSI Nego! SCARPIA E vesti? CAVARADOSSI Nego! SCARPIA Ed asilo nella villa? E che là sia nascosto? CAVARADOSSI (con forza) Nego! Nego! SCARPIA (astutamente, ritornando calmo) Via, Cavaliere, riflettete: saggia non è cotesta ostinatezza vostra. Angoscia grande, pronta confessione eviterà! Io vi consiglio, dite: dov’è dunque Angelotti?

[24]

CAVARADOSSI Non lo so. SCARPIA Ancor l’ultima volta. Dov’è? CAVARADOSSI Nol so! SPOLETTA (fra sé) O bei tratti di corda! (Tosca entra affannosa.) SCARPIA (fra sé) Eccola!

[15] 102

act two

CAVARADOSSI I don’t know. SCARPIA You deny you gave him food? CAVARADOSSI I deny it. SCARPIA And clothes? CAVARADOSSI I deny it. SCARPIA And refuge in your villa? And that he’s hidden there? CAVARADOSSI (vehemently) I deny it! I deny it! SCARPIA (craftily, becoming calm) Come, Cavalier, you must reflect. This stubbornness of yours is not prudent. A prompt confession saves enormous pain. Take my advice and tell me: where is Angelotti?

[24]

CAVARADOSSI I don’t know. SCARPIA Be careful. For the last time, where is he? CAVARADOSSI I don’t know. SPOLETTA (to himself) Oh, for a good whipping! (Enter Tosca, breathless.) SCARPIA (to himself) Here she is!

[15] 103

tosca

TOSCA (vede Cavaradossi e corre ad abbracciarlo) Mario, tu qui? CAVARADOSSI (sommessamente) Di quanto là vedesti, taci, o m’uccidi!

[23]

(Tosca accenna che ha capito.) SCARPIA (con solennità) Mario Cavaradossi, qual testimone il Giudice vi aspetta. (a Roberti) Pria le forme ordinarie. Indi… ai miei cenni.

[23]

(Sciarrone apre l’uscio che dà alla camera della tortura. Il Giudice vi entra e gli altri lo seguono. Spoletta si ritira presso alla porta in [24] fondo alla sala. Tosca e Scarpia rimangono soli.) SCARPIA Ed or fra noi parliam da buoni amici. Via quell’aria sgomentata. TOSCA (con calma studiata) Sgomento alcun non ho. SCARPIA La storia del ventaglio? (Passa dietro al canapè sul quale si è seduta Tosca e vi si appoggia, parlando sempre con galanteria.) TOSCA (con simulata indifferenza) Fu sciocca gelosia. SCARPIA L’Attavanti non era dunque alla villa? TOSCA No, egli era solo.

104

act two

TOSCA (sees Cavaradossi and runs to embrace him) Mario, you here? CAVARADOSSI (speaking low) Of what you saw there, say nothing. Or you will kill me!

[23]

(Tosca indicates she understands.) SCARPIA (solemnly) Mario Cavaradossi, the Judge awaits your testimony. (to Roberti) First, the usual formalities. And then… as I shall order.

[23]

(Sciarrone opens the door to the torture chamber. The Judge goes in and the others follow. Spoletta stations himself at the door at the back of the room. Tosca and Scarpia are now alone together.) [24] SCARPIA And now let’s talk together like good friends. Come now, don’t look so frightened. TOSCA (with studied calm) I am not afraid. SCARPIA What about the fan? (He passes behind the sofa where Tosca is sitting and leans upon it. He still adopts a gallant air.) TOSCA (with feigned indifference) That was foolish jealousy. SCARPIA So, the Attavanti was not at the villa? TOSCA No, he was alone.

105

tosca

SCARPIA Solo? Ne siete ben sicura? TOSCA Nulla sfugge ai gelosi. Solo! Solo! SCARPIA (prende una sedia, la porta di fronte a Tosca, vi si siede e la guarda fissamente) Davver? TOSCA (irritata) Solo, sì! SCARPIA Quanto fuoco! Par che abbiate paura di tradirvi. (a Sciarrone) Sciarrone, che dice il Cavalier? SCIARRONE (apparendo) Nega. SCARPIA (a voce più alta verso l’uscio aperto) Insistiamo. (Sciarrone riparte e chiude l’uscio.) TOSCA (ridendo) Oh, è inutil! SCARPIA (serio, passeggiando) Lo vedremo, signora. TOSCA Dunque per compiacervi si dovrebbe mentir? SCARPIA No, ma il vero potrebbe abbreviargli un’ora assai penosa… TOSCA (sorpresa) Un’ora penosa? Che vuol dir? Che avviene in quella stanza? 106

act two

SCARPIA Alone? Are you quite sure? TOSCA Nothing escapes a jealous eye. Alone. Alone. SCARPIA (Taking a chair, he places it in front of Tosca, sits down, and studies her face.) Indeed! TOSCA (annoyed) Yes. Alone! SCARPIA You protest too much! Perhaps you fear you may betray yourself. (to Sciarrone) Sciarrone, what does the Cavalier have to say? SCIARRONE (appearing) He denies everything. SCARPIA (raising his voice, towards the open door) Keep pressing him! (Sciarrone goes out and shuts the door.) TOSCA (laughing) You know it’s quite useless. SCARPIA (serious, pacing back and forth) We shall see, madam. TOSCA It seems that one must lie to please you? SCARPIA No, but the truth might shorten an extremely painful hour for him… TOSCA (surprised) A painful hour? What do you mean? What are you doing in that room? 107

tosca

SCARPIA È forza che si adempia la legge. TOSCA Oh, Dio! Che avvien, che avvien, che avvien?… SCARPIA Legato mani e piè il vostro amante ha un cerchio uncinato alle tempia che ad ogni niego ne sprizza sangue senza mercé!

[25]

TOSCA (balza in piedi) Non è ver, non è ver! Sogghigno di demone! (Sente un gemito prolungato di Cavaradossi.) Un gemito? Pietà… pietà!… SCARPIA Sta in voi di salvarlo. TOSCA Ebben, ma cessate, cessate! SCARPIA (gridando) Sciarrone, sciogliete. SCIARRONE (appare) Tutto? SCARPIA Tutto. (Sciarrone entra di nuovo nella camera della tortura, chiudendo.) Ed or, la verità! TOSCA Ch’io lo veda! SCARPIA No! TOSCA (riesce ad avvicinarsi all’uscio) Mario! 108

act two

SCARPIA The law must be enforced. TOSCA Oh, God! What’s happening? What is happening? SCARPIA Your lover’s bound hand and foot. A ring of hooked iron at his temples, so that they spurt blood at each denial. TOSCA (She bounds to her feet.) It isn’t true! It isn’t true! Oh, leering devil! (a prolonged groan from Cavaradossi) He groans! Oh, pity! Pity! SCARPIA It is up to you to save him. TOSCA Good, good! But stop it! Stop it! SCARPIA (shouting) Stop, Sciarrone! SCIARRONE (appearing) Stop everything? SCARPIA Everything. (Sciarrone returns to the torture chamber, shutting the door.) And now the truth! TOSCA Let me see him. SCARPIA No! TOSCA (managing to get near the door) Mario! 109

[25]

tosca

LA VOCE DI CAVARADOSSI Tosca! TOSCA Ti straziano ancora? LA VOCE DI CAVARADOSSI No, coraggio! Taci, taci, sprezzo il dolor! SCARPIA Orsù, Tosca, parlate. TOSCA (rinfrancata dalle parole di Mario) Non so nulla! SCARPIA Non vale quella prova? Roberti, ripigliamo… TOSCA (si mette fra Scarpia e l’uscio per impedire che dia l’or­ dine) No! Fermate! SCARPIA Voi parlerete? TOSCA No, no! Ah!… mostro… Lo strazi, l’uccidi! SCARPIA Lo strazia quel vostro silenzio assai più. TOSCA Tu ridi all’orrida pena? SCARPIA (con feroce ironia) Mai Tosca alla scena più tragica fu! (a Spoletta)

110

act two

CAVARADOSSI’S VOICE Tosca! TOSCA Are they still torturing you? CAVARADOSSI’S VOICE No. Courage… and be silent. I despise pain! SCARPIA Come on, Tosca, speak! TOSCA (strengthened by Mario’s words) I know nothing. SCARPIA Wasn’t that enough for you? Roberti, start again… TOSCA (throwing herself in front of the door, to keep him from giving the order) No! Stop! SCARPIA Will you speak? TOSCA No, no! Ah, monster! Murderer… you’re killing him! SCARPIA It’s your silence that’s killing him. TOSCA Monster, do you laugh at this ghastly torment? SCARPIA (with fierce irony) Tosca on the stage was never more tragic! (to Spoletta)

111

tosca

Aprite le porte, che n’oda i lamenti! (Spoletta apre l’uscio e sta ritto sulla soglia.) LA VOCE DI CAVARADOSSI Vi sfido! SCARPIA Più forte! Più forte!…

[25]

LA VOCE DI CAVARADOSSI Vi sfido! SCARPIA (a Tosca) Parlate… TOSCA Che dire? SCARPIA Su, via… TOSCA Ah, non so nulla! Ah! Dovrei mentir? SCARPIA Dite, dov’è Angelotti? TOSCA No! No! SCARPIA Parlate su, via, dove celato sta? Su via, parlate, ov’è? TOSCA Più non posso! Ah! Che orror! Cessate il martir!… È troppo soffrir… Ah, non posso più… ah, non posso più! LA VOCE DI CAVARADOSSI Ahimè! 112

[26]

act two

Open the door so she can hear his groans better. (Spoletta opens the door and stands stiffly on the threshold.) CAVARADOSSI’S VOICE I defy you. SCARPIA Harder! Harder!

[25]

CAVARADOSSI’S VOICE I defy you all! SCARPIA (to Tosca) Speak now… TOSCA What can I say? SCARPIA Come, speak… TOSCA Oh, I know nothing! Must I lie to you? SCARPIA Where’s Angelotti? TOSCA No, no! SCARPIA Speak up, come, quickly. Where’s he hiding? TOSCA I can stand no more. Oh, horror! Stop this torture… It’s more than I can bear… I can stand no more… no more… CAVARADOSSI’S VOICE Ah! 113

[26]

tosca

TOSCA (si rivolge ancora supplichevole a Scarpia, il quale fa cenno a Spoletta di lasciare avvicinare Tosca; essa va presso all’uscio aperto ed esterrefatta alla vista dell’orribile scena, si rivolge a Cavaradossi col massimo dolore:) Mario, consenti ch’io parli? LA VOCE DI CAVARADOSSI No. No. TOSCA (con insistenza) Ascolta, non posso più… LA VOCE DI CAVARADOSSI Stolta, che sai? Che puoi dir? SCARPIA (irritatissimo per le parole di Cavaradossi, grida terribile a Spoletta:) Ma fatelo tacere! (Spoletta entra nella camera della tortura e n’esce poco dopo, mentre Tosca, vinta dalla terribile commozione, cade prostrata sul canapè. Con voce singhiozzante si rivolge a Scarpia che sta impassibile e silenzioso. Intanto Spoletta brontola preghiere sottovoce: ‘Judex ergo cum sedebit quidquid latet apparebit nil inultum remanebit.’) TOSCA Che v’ho fatto in vita mia? Son io che così torturate! Torturate l’anima… (Scoppia in singhiozzi strazianti.) Sì, l’anima mi torturate! SPOLETTA (continua a pregare:) Nil inultum remanebit! (Scarpia, profittando dell’accasciamento di Tosca, va presso la camera di tortura e fa cenno di ricominciare il supplizio. Un grido orribile si fa udire. Tosca si alza di scatto e subito con voce soffocata dice rapidamente a Scarpia:) TOSCA Nel pozzo… nel giardino… 114

act two

TOSCA (She turns imploringly to Scarpia, who signals to Spoletta to let her come near; she goes to the open door and is overwhelmed by the horrible scene within. She cries out in anguish to Cavaradossi.) Mario, will you let me speak? CAVARADOSSI’S VOICE No. TOSCA (pleading) Listen, I can bear no more… CAVARADOSSI’S VOICE Fool! What do you know and what can you say? SCARPIA (enraged at Cavaradossi’s words, he shouts furiously at Spoletta) Shut him up! (Spoletta goes into the torture chamber, returning after a moment. Tosca, overcome with emotion, has fallen prostrate on the sofa. Sobbing, she appeals to Scarpia. He stands silent and impassive. Spoletta, meanwhile, mumbles a prayer under his breath: ‘Judex ergo cum sedebit quidquid latet apparebit nil inultum remanebit.’) TOSCA What have I done to you in my life? It is I you torture so. It is my spirit… (She bursts into convulsive sobs) Yes, my spirit you are torturing. SPOLETTA (He continues to pray) Nil inultum remanebit! (Scarpia, profiting from Tosca’s breakdown goes towards the torture chamber and orders the resumption of the torment. There is a piercing cry, Tosca leaps up, and in a choking voice says rapidly to Scarpia:) TOSCA In the well, in the garden… 115

tosca

SCARPIA Là è Angelotti? TOSCA Sì. SCARPIA (forte, verso la camera della tortura) Basta, Roberti. SCIARRONE (che ha aperto l’uscio) È svenuto! TOSCA (a Scarpia) Assassino! Voglio vederlo. SCARPIA Portatelo qui! (Sciarrone rientra e subito appare Cavaradossi svenuto, portato dai birri [23, 24] che lo depongono sul canapè. Tosca corre a lui, ma l’orrore della vista dell’amante insanguinato è così forte, ch’essa, sgomentata, si copre il volto. Poi, vergognosa di questa sua debolezza, si inginocchia presso di lui, baciandolo e piangendo. Sciarrone, Roberti, il Giudice e lo Scrivano escono dal fondo, mentre, ad un cenno di Scarpia, Spoletta e i birri si fermano.) CAVARADOSSI (riavendosi) Floria! TOSCA (coprendolo di baci) Amore…

[15]

CAVARADOSSI Sei tu? TOSCA Quanto hai penato, anima mia! Ma il giusto Iddio lo punirà! CAVARADOSSI Tosca, hai parlato? 116

act two

SCARPIA Angelotti is there? TOSCA Yes. SCARPIA (loudly, towards the torture chamber) Enough, Roberti! SCIARRONE (reopening the door) He has fainted! TOSCA (to Scarpia) Murderer! I want to see him. SCARPIA Bring him in here. (Sciarrone re-enters and then Cavaradossi, in a faint, carried by the policemen, [23, 24] who lay him on the sofa. Tosca runs up, but on seeing her lover spattered with blood, covers her face in fright and horror. Then, ashamed of her show of weakness, she kneels beside Cavaradossi, kissing him and weeping. Sciarrone, Roberti, the Judge and the Scribe go out at the rear. At a sign from Scarpia, Spoletta and the policemen stay behind.) CAVARADOSSI (as he comes to) Floria! TOSCA (covering him with kisses) Beloved… CAVARADOSSI It is you? TOSCA How you have suffered. Oh, my soul! But this just God will punish him! CAVARADOSSI Did you speak? 117

[15]

tosca

TOSCA No, amor… CAVARADOSSI Davvero? TOSCA No! SCARPIA (forte, a Spoletta) Nel pozzo… del giardino. Va’, Spoletta.

[1]

(Spoletta esce; Cavaradossi, che ha udito, si leva minaccioso contro Tosca; poi le forze lo abbandonano e si lascia cadere sul canapè, esclamando con rimprovero pieno di amarezza verso Tosca:) CAVARADOSSI Ah! M’hai tradito! TOSCA (supplichevole) Mario! CAVARADOSSI (respinge Tosca che si era abbracciata a lui) Maledetta! TOSCA (supplichevole) Mario! SCIARRONE (irrompe tutto affannoso) Eccellenza, quali nuove! SCARPIA (sorpreso) Che vuol dir quell’aria afflitta? SCIARRONE Un messaggio di sconfitta! SCARPIA Che sconfitta? Come? Dove? SCIARRONE A Marengo. 118

act two

TOSCA No, beloved… CAVARADOSSI Truly not? TOSCA No! SCARPIA (loudly to Spoletta) In the well… in the garden. Get him, Spoletta.

[1]

(Exit Spoletta. Cavaradossi has heard; he rises threateningly towards Tosca, but his strength fails him and he falls back on the sofa, bitterly reproachful as he exclaims:) CAVARADOSSI Ah, you have betrayed me! TOSCA (beseeching) Mario! CAVARADOSSI (rejecting her embrace and thrusting her from him) Accursed woman! TOSCA (beseeching) Mario! SCIARRONE (bursting in, very perturbed) Excellency! Bad news! SCARPIA (taken aback) What are you looking so worried about? SCIARRONE It is news of defeat! SCARPIA How? Where? What defeat? SCIARRONE At Marengo. 119

tosca

SCARPIA (impaziente) Tartaruga! SCIARRONE Bonaparte è vincitor! SCARPIA Melas? SCIARRONE No, Melas è in fuga! (Cavaradossi, che con ansia crescente ha udito le parole di Sciarrone, trova nel proprio entusiasmo la forza di alzarsi minaccioso in faccia a Scarpia.) CAVARADOSSI Vittoria! Vittoria! L’alba vindice appar che fa gli empi tremar! Libertà sorge, crollan tirannidi!

[27]

TOSCA (cercando disperatamente di calmarlo) Mario, taci! Pietà di me! CAVARADOSSI Del sofferto martir me vedrai qui gioir… Il tuo cor trema, o Scarpia carnefice! (Tosca, aggrappandosi a Cavaradossi, tenta con parole interrotte di farlo tacere, mentre Scarpia risponde a Cavaradossi con un sarcastico sorriso.) SCARPIA Braveggia, urla! T’affretta a palesarmi il fondo dell’alma ria! Va’, moribondo, il capestro t’aspetta! (Grida ai birri:) Portatemelo via! 120

act two

SCARPIA (impatient) Blockhead! SCIARRONE Bonaparte has won! SCARPIA And Melas? SCIARRONE No. Melas has fled! (Cavaradossi, having listened to Sciarrone with anxious expecta­ tion, now, in sheer enthusiasm, finds the strength to rise threatening­ ly towards Scarpia.) CAVARADOSSI Victory! Victory! The avenging dawn now rises to make the wicked tremble! And liberty returns, the scourge of tyrants!

[27]

TOSCA (trying desperately to calm him) Mario, be still! Have pity on me! CAVARADOSSI You see me now rejoice in my own suffering… And now your blood runs cold, hangman, Scarpia! (Tosca clutches Cavaradossi and with a rush of broken words tries to calm him, while Scarpia answers with a sardonic smile.) SCARPIA Go, shout your boasts! Pour out the last dregs of your vile soul! Go, for you die, the hangman’s noose awaits you. (He shouts to the policemen) Take him away! 121

tosca

(Sciarrone e i birri s’impossessano di Cavaradossi e lo trascinano verso la porta. Tosca, con un supremo sforzo, tenta di tenersi stretta a Cavaradossi, ma invano: essa è brutalmente respinta.) TOSCA Ah, Mario! Mario! Con te… con te…

[26]

SCARPIA Voi no! (La porta si chiude e rimangono solamente Scarpia e Tosca.) TOSCA (con un gemito) Salvatelo! SCARPIA Io?… Voi! (Si avvicina alla tavola, vede la sua cena lasciata a mezzo e ritorna [20] calmo a sorridente.) La povera mia cena fu interrotta. (Vede Tosca abbattuta, immobile, ancora presso la porta.) Così accasciata? Via, mia bella signora, sedete qui. Volete che cerchiamo insieme il modo di salvarlo? (Tosca si scuote e lo guarda; Scarpia sorride sempre e si siede, accennando in pari tempo di sedere a Tosca.) E allor sedete, e favelliamo. E intanto un sorso. È vin di Spagna. (Riempie il bicchiere e lo porge a Tosca.) Un sorso per rincorarvi. TOSCA (fissando sempre Scarpia si avvicina lentamente alla tavola, siede risoluta di fronte a Scarpia; poi coll’accento del più profondo disprezzo gli chiede:) Quanto? SCARPIA (imperturbabile, versandosi da bere) Quanto? 122

act two

(Sciarrone and the policemen seize Cavaradossi and drag him towards the door. Tosca makes a supreme effort to hold on to him, but they thrust her brutally aside.) TOSCA Mario, with you…

[26]

SCARPIA Not you! (The door closes and Scarpia and Tosca remain alone.) TOSCA (moaning) Save him! SCARPIA I?… You rather! (He goes to the table, notes his supper interrupted midway, and [20] again is calm and smiling.) My poor supper was interrupted. (He sees Tosca, dejected and motionless, still at the door) So downhearted? Come, my fair lady. Sit down here. Shall we try to find together a way to save him? (Tosca bestirs herself and looks at him. Scarpia, still smiling, sits down and motions to her to do the same.) Well then, sit down, and we shall talk. And first, a sip of wine. It comes from Spain. (He refills the glass and offers it to Tosca.) A sip to hearten you. TOSCA (still staring at Scarpia, she advances towards the table. She sits resolutely facing him, then asks in a tone of the deepest contempt:) How much? SCARPIA (imperturbable, as she pours his drink) How much? 123

tosca

(Ride.) TOSCA Il prezzo! SCARPIA Già, mi dicon venal, ma a donna bella, no, no, io non mi vendo a prezzo di moneta. Se la giurata fede debbo tradir, ne voglio altra mercede. Quest’ora io l’attendeva! Già mi struggea l’amor della diva! Ma poc’anzi ti mirai qual non ti vidi mai! Quel tuo pianto era lava ai sensi miei e il tuo sguardo che odio in me dardeggiava, mie brame inferociva! Agil qual leopardo t’avvinghiasti all’amante. Ah, in quell’istante t’ho giurata mia! Mia! Sì, t’avrò!…

[28] [29] [30]

[29]

(Si leva, stendendo le braccia verso Tosca; questa, che aveva ascoltato immobile le lascive parole di Scarpia, s’alza di scatto e si rifugia dietro il canapè.) TOSCA (correndo alla finestra) Ah! Piuttosto giù m’avvento! SCARPIA (freddamente) In pegno il Mario tuo mi resta! TOSCA Ah! miserabile… L’orribile mercato! (Le balena l’idea di recarsi presso la Regina e corre verso la porte.) 124

act two

(He laughs.) TOSCA What is your price? SCARPIA Yes, they say that I am venal, but it is not for money that I will sell myself to beautiful women. I want other recompense if I am to betray my oath of office. I have waited for this hour! Already in the past I burned with passion for the diva. But tonight I have beheld you in a new role I had not seen before. Those tears of yours were lava to my senses and that fierce hatred which your eyes shot at me only fanned the fire in my blood. Supple as a leopard you enwrapped your lover. In that instant I vowed you would be mine! Mine! Yes. I will have you…

[28] [29] [30]

[29]

(He rises and stretches out his arms towards Tosca. She has listened motionless to his wanton tirade. Now she leaps up and takes refuge behind the sofa.) TOSCA (running towards the window) Ah! I’ll jump out first! SCARPIA (coldly) I hold your Mario in pawn! TOSCA Oh, wretch… Oh, ghastly bargain… (It suddenly occurs to her to appeal to the Queen, and she runs to the door.) 125

tosca

SCARPIA (ironico) Violenza non ti farò. Sei libera. Va’ pure, ma è fallace speranza: la Regina farebbe grazia ad un cadavere! (Tosca retrocede spaventata e, fissando Scarpia, si lascia cadere sul canapè; poi stacca gli occhi da Scarpia con un gesto di supremo disgusto.) Come tu m’odii! TOSCA Ah! Dio! SCARPIA (avvicinandosi) Così, così ti voglio! TOSCA (con ribrezzo) Non toccarmi, demonio; t’odio, t’odio, abbietto, vile! (Fugge da Scarpia inorridita.) SCARPIA Che importa? Spasimi d’ira, spasimi d’amore! TOSCA Vile! SCARPIA Mia! (Cerca di afferrarla.) TOSCA Vile! (Si ripara dietro la tavola.) SCARPIA (inseguendola) Mia… TOSCA Aiuto! Aiuto!

[26] 126

act two

SCARPIA (ironically) I do you no violence. Go. You are free. But your hope is vain: the Queen would merely grant pardon to a corpse! (Tosca draws back in fright, her eyes fixed on Scarpia. She drops on the sofa. She then looks away from him with a gesture of supreme contempt.) How you detest me! TOSCA Ah! God! SCARPIA (approaching) Even so, even so I want you! TOSCA (with loathing) Don’t touch me, devil! I hate you, hate you! Fiend, base villain! (She flees from him in horror.) SCARPIA What does it matter? Spasms of wrath or spasms of passion… TOSCA Foul villain! SCARPIA You are mine! (trying to seize her) TOSCA Wretch! (She retreats behind the table) SCARPIA (pursuing her) Mine! TOSCA Help! Help!

[26] 127

tosca

(Un lontano rullo di tamburi a poco a poco s’avvicina, poi si dilegua [31] lontano.) SCARPIA Odi? È il tamburo. S’avvia; guida la scorta ultima ai condannati. Il tempo passa! (Tosca, dopo avere ascoltato con ansia terribile, si allontana dalla finestra e si appoggia, estenuata, sul canapè.) Sai quale oscura opra laggiù si compia? Là si drizza un patibolo. Al tuo Mario, per tuo voler, non resta che un’ora di vita. (Freddamente si appoggia ad un angolo della tavola continuando a guardare Tosca.) TOSCA Vissi d’arte, vissi d’amore, non feci mai male ad anima viva! Con man furtiva quante miserie conobbi, aiutai… Sempre con fé sincera, la mia preghiera ai santi tabernacoli salì. Sempre con fé sincera diedi fiori agli altar. Nell’ora del dolore perché, perché, Signore, perché me ne rimuneri così? Diedi gioielli della Madonna al manto, e diedi il canto agli astri, al ciel, che ne ridean più belli. Nell’ora del dolore perché, perché, Signore, perché me ne rimuneri così? (inginocchiandosi innanzi a Scarpia)

128

[32]

[32]

[13]

[26]

act two

(A distant roll of drums draws slowly near, then fades again into [31] the distance.) SCARPIA Do you hear? It is the drum that leads the way for the last march of the condemned. Time passes! (Tosca listens in terrible dread, and then comes back from the window to lean exhausted on the sofa.) Are you aware of what dark work is done down there? They raise a gallows. By your wish, your Mario has but one more hour to live. (He coldly leans on a corner of the sofa and continues to stare at Tosca.) TOSCA I lived for art, I lived for love: never did I harm a living creature! Whatever misfortunes I encountered I sought with secret hand to succour. Ever in pure faith, my prayers rose in the holy chapels. Ever in pure faith, I brought flowers to the altars. In this hour of pain, why, why, oh Lord, why dost Thou repay me thus? Jewels I brought for the Madonna’s mantle, and songs for the stars in heaven that they shone forth with greater radiance. In this hour of distress, why, why, oh Lord, why dost Thou repay me thus? (kneeling before Scarpia)

129

[32]

[13]

[13]

[26]

tosca

TOSCA Vedi, le man giunte io stendo a te! Ecco, vedi, e mercé d’un tuo detto, vinta, aspetto… SCARPIA Sei troppo bella, Tosca, e troppo amante. Cedo. A misero prezzo: tu, a me una vita, io a te chieggo un istante!

[28, 29]

TOSCA (alzandosi, con un senso di gran disprezzo) Va’, va’, mi fai ribrezzo! Va’, va’! (Bussano alla porta.) SCARPIA Chi è la? SPOLETTA (entrando trafelato) Eccellenza, l’Angelotti al nostro giungere si uccise.

[2]

SCARPIA Ebbene, lo si appenda morto alle forche. E l’altro prigionier? SPOLETTA Il Cavalier Cavaradossi? È tutto pronto, Eccellenza! TOSCA (fra sé) Dio, m’assisti! SCARPIA (a Spoletta) Aspetta. (a Tosca) Ebbene? (Tosca accenna di sì col capo e, dalla vergogna piangendo, si nasconde il viso. A Spoletta) Odi… 130

act two

TOSCA Look at me, oh, behold! With clasped hands I beseech you! And, vanquished, I implore the help of your word… SCARPIA Tosca, you are too beautiful and too loving. I yield to you. And at a paltry price; you ask me for a life. I ask of you an instant.

[28, 29]

TOSCA (rising, with great contempt) Go, go, you fill me with loathing! (a knock at the door) SCARPIA Who’s there? SPOLETTA (entering breathless) Excellency, Angelotti killed himself when we arrived.

[2]

SCARPIA Well, then, have him hanged dead from the gibbet. The other prisoner? SPOLETTA The Cavalier Cavaradossi? Everything is ready, Excellency. TOSCA (to herself) God help me! SCARPIA (to Spoletta) Wait. (to Tosca) Well? (Tosca nods assent. She weeps with shame and hides her face. To Spoletta) Listen… 131

tosca

TOSCA (interrompendo subito) Ma libero all’istante lo voglio… SCARPIA (a Tosca) Occorre simular. Non posso far grazia aperta. Bisogna che tutti abbian per morto il cavalier. (Accenna a Spoletta.) Quest’uomo fido provvederà. TOSCA Chi m’assicura? SCARPIA L’ordin ch’io gli darò voi qui presente. (a Spoletta) Spoletta, chiudi. (Spoletta chiude la porta, poi ritorna presso Scarpia.) Ho mutato d’avviso. Il prigionier sia fucilato… (Tosca scatta atterrita.) Attendi… (Fissa con intenzione Spoletta che accenna replicatamente col capo di indovinare il pensiero di Scarpia.) Come facemmo del Conte Palmieri. SPOLETTA Un’uccisione… SCARPIA (subito con marcata intenzione) …Simulata! Come avvenne del Palmieri! Hai ben compreso? SPOLETTA Ho ben compreso.

132

act two

TOSCA (suddenly interrupting) But I demand that he be freed this instant… SCARPIA (to Tosca) We must dissemble. I cannot openly grant pardon to him. All must believe the Cavalier is dead. (points to Spoletta) This trusted man of mine will see to it. TOSCA How can I be sure? SCARPIA By the orders I give him in your presence. (to Spoletta) Spoletta, shut the door. (Spoletta shuts the door and comes back to Scarpia.) I have changed my mind. The prisoner shall be shot… (Tosca starts with terror.) Wait a moment… (He fixes on Spoletta a hard, significant glance and Spoletta nods in reply that he has guessed his meaning.) As we did with Count Palmieri. SPOLETTA An execution… SCARPIA (significantly stressing his words) …A sham one! As we did with Palmieri! You understand? SPOLETTA I understand.

133

tosca

SCARPIA Va’. TOSCA Voglio avvertirlo io stessa. SCARPIA E sia. (a Spoletta) Le darai passo… Bada, all’ora quarta… SPOLETTA Sì. Come Palmieri. (Spoletta parte. [1] Scarpia, ritto presso la porta, ascolta Spoletta allontanarsi, poi trasformando nel viso e nei gesti si avvicina con grande passione a Tosca.) SCARPIA Io tenni la promessa… TOSCA (arrestandolo) Non ancora. Voglio un salvacondotto onde fuggir dallo Stato con lui. SCARPIA (con galanteria) Partir dunque volete? TOSCA Sì, per sempre! SCARPIA Si adempia il voler vostro. (Va allo scrittoio; si mette a scrivere, interrompendosi per doman­ dare a Tosca:) E qual via scegliete? TOSCA La più breve! 134

act two

SCARPIA Go. TOSCA I want to explain to him myself. SCARPIA As you wish. (to Spoletta) You will let her pass… And remember, at four o’clock. SPOLETTA Yes. Like Palmieri. (Exit Spoletta. [1] Scarpia, near the door, listens to his retreating footsteps, and then, his whole behaviour changing, he advances towards Tosca flushed with passion.) SCARPIA I have kept my promise. TOSCA (stopping him) Not yet. I want a safe conduct, so that he and I can flee the State together. SCARPIA (gallantly) You want to leave? TOSCA Yes, for ever. SCARPIA Your wish shall be granted. (He goes to the desk and begins writing. Then he stops to ask Tosca:) And which road do you prefer? TOSCA The shortest! 135

tosca

SCARPIA Civitavecchia? TOSCA Sì. (Mentre Scarpia scrive, Tosca si è avvicinata alla tavola [33] e con la mano tremante prende il bicchiere di vino versato da Scarpia; ma nel portare il bicchiere alle labbra scorge sulla tavola un coltello affilato e a punta; dà un’occhiata a Scarpia che è in quel momento occupato a scrivere, e con infinite precauzioni cerca d’impossessarsi del coltello, rispondendo alle domande di Scarpia che essa sorveglia attentamente. Finalmente ha potuto prendere il coltello, che dissimula dietro di sé appoggiandosi alla tavola e sempre sorvegliando Scarpia. Questi ha finito di scrivere il salvacondotto, vi mette il sigillo, ripiega il foglio; quindi, aprendo le braccia, si avvicina a Tosca per avvincerla a sé.) SCARPIA Tosca, finalmente mia!

[29]

(Ma l’accento voluttuoso si cambia in un grido terribile: Tosca lo ha colpito in pieno petto.) Maledetta! TOSCA Questo è il bacio di Tosca! (Scarpia stende il braccio verso Tosca avvicinandosi barcollante in atto di aiuto. Tosca lo sfugge, ma ad un tratto si trova presa fra Scarpia e la tavola e, vedendo che sta per essere toccata da lui, lo respinge inorridita. Scarpia cade, urlando colla voce soffocata dal sangue:) SCARPIA Aiuto… muoio! Soccorso! Muoio! TOSCA (fissando Scarpia che si dibatte inutilmente e cerca di rialzarsi, aggrappandosi al canapè) Ti soffoca il sangue? E ucciso da una donna! M’hai assai torturata! Odi tu ancora? Parla! Guardami! Son Tosca! O Scarpia! 136

act two

SCARPIA Civitavecchia? TOSCA Yes. (As he writes, Tosca goes up to the table [33] to take, with shaking hand, the glass of wine that Scarpia has poured, but as she lifts it to her lips, her eye falls on a sharply pointed knife that is lying on the table. She sees that Scarpia at this moment is absorbed in writing, and so, with infinite caution, still answering his questions, and never taking her eye from him, she reaches out for the knife. Finally, she is able to grasp the knife. Still watching Scarpia, she hides it behind her as she leans against the table. He has now finished making out the pass. He puts his seal upon it and folds the paper, and then, opening his arms, advances towards Tosca to embrace her.) SCARPIA Tosca, now you are mine at last!

[29]

(But his shout of lust ends in a cry of anguish: Tosca has struck him full in the breast.) Accursed one! TOSCA This is the kiss of Tosca! (Scarpia stretches out an arm towards her, swaying and lurching as he advances, seeking her aid. She eludes him, but is suddenly caught between him and the table, and seeing that he is about to touch her, she thrusts him back in horror. Scarpia crashes to the floor, shrieking in a voice nearly stifled with blood.) SCARPIA Help! I am dying! Help! I die! TOSCA (She watches him as he struggles helplessly on the floor and clutches at the sofa, trying to pull himself up.) Is your blood choking you? And killed by a woman! Did you torment me enough? Can you still hear me? Speak! Look at me! I am Tosca! Oh, Scarpia! 137

tosca

SCARPIA (fa un ultimo sforzo, poi cade riverso.) Soccorso! Aiuto! TOSCA (chinandosi verso Scarpia) Ti soffoca il sangue? Muori dannato! Muori! Muori! Muori!

[1]

(vedendolo immobile) È morto! Or gli perdono! E avanti a lui tremava tutta Roma! (Senza abbandonare cogli occhi il cadavere, Tosca va alla tavola, vi depone il coltello, prende una bottiglia d’acqua, inzuppa il tovagliolo e si lava le dita; [33] poi va allo specchio e si ravvia i capelli. Quindi cerca il salvacondotto sullo scrittoio; non trovandolo, si volge e lo scorge nella mano raggrinzita del morto; ne toglie il foglio con un brivido e lo nasconde nel petto. Spegne il candelabro sulla tavola e va per uscire, ma si pente e vedendo accesa una delle candele sullo scrittoio, va a prenderla, accende l’altra, e mette una candela a destra e l’altra a sinistra della testa di Scarpia. [29] Alzandosi, cerca di nuovo intorno e scorgendo un crocifisso va a staccarlo dalla parete e portandolo religiosamente s’inginocchia per posarlo sul petto di Scarpia; poi si alza e con grande precauzione esce, richiudendo dietro a sé la porta.)

138

act two

SCARPIA (after a last effort he falls back) Help! Help! TOSCA (bending over him) Is your blood choking you? Die accursed! Die! Die! Die!

[1]

(seeing him motionless) He is dead! And now I pardon him! All Rome trembled before him! (Her eyes still fixed on the body, Tosca goes to the table, puts down the knife, takes a bottle of water, wets a napkin and washes her fingers. [33] She then goes to the mirror to arrange her hair. Then she hunts for the safe-conduct pass on the desk, and not finding it there she turns and sees the paper in the clenched hand of the dead man. She takes it with a shudder and hides it in her bosom. She puts out the candle on the table and is about to leave when a scruple detains her. She returns to the desk and takes the candle there, using it to relight the other, and then places one to the right and the other to the left of Scarpia’s head. [29] She rises and looks about her and notices a crucifix on the wall. She removes it with reverent care, and returning to the dead man, kneels at his side and places it on his breast. She rises, approaches the door cautiously, goes out and closes it.)

139

ATTO TERZO La piattaforma di Castel Sant’Angelo. (A sinistra una casamatta; vi è collocata una lampada, un grosso registro e l’occorrente per scrivere; una panca, una sedia. Su di una parte della casamatta, un crocifisso; davanti a questo è appesa una lampada. A destra, l’apertura d’una piccola scala per la quale si ascende alla piattaforma. Nel fondo il Vaticano e San Pietro. [39, 34, 1] È ancora notte; a poco a poco si vede la luce incerta e grigia che precede l’alba. Le campane delle chiese suonano mattutino. Si ode la voce d’un pastore che guida un armento.) (Orchestra) VOCE DEL PASTORE Io de’ sospiri te ne rimanno tanti pe’ quante foje ne smoveno li venti. Tu me disprezzi. Io me ci accoro. Lampena d’oro, me fai morir.

[35, 34]

(Orchestra) (Un Carceriere con una lanterna sale dalla scala, va alla casamatta e vi accende una lampada sospesa davanti al crocifisso, poi quella sulla tavola; siede ed aspetta mezzo assonnato. Più tardi un picchetto, comandato da un sergente della guardia, sale sulla piattaforma accompagnando Cavaradossi; [36] il picchetto si arresta ed il sergente conduce Cavaradossi alla casamatta, consegnando un foglio al Carceriere che esamina il foglio, apre il registro e vi scrive mentre interroga.) (Orchestra) 140

ACT THREE The platform of Castel Sant’Angelo. (At left, a casemate: there is a lamp, large registry book with writing materials, a bench and a chair. A crucifix hangs on one of the casemate walls with a lamp in front. To the right, the door to a small stairway leading up to the platform. In the distance, the Vatican and the Basilica of St Peter’s. [39, 34, 1] It is still night, but gradually darkness is dispelled by the grey, uncertain light of the hour before dawn. Church bells toll for matins. The voice of a shepherd passing with his flock can be heard.) (Orchestra) VOICE OF SHEPHERD I give you sighs, there are as many as there are leaves driven by the wind. You may scorn me, and my heart is sick. Oh lamp of gold, I die for you.

[35, 34]

(Orchestra) (A Jailer with a lantern mounts the stairs from below. He goes to the casemate and lights the light in front of the crucifix, and then the one on the table. He sits down and waits, half drowsing. Soon a picket of guards, led by a sergeant, emerges from the stairway with Cavaradossi. [36] The picket halts as the sergeant leads Cavaradossi to the casemate and hands a note to the Jailer. The latter examines it, opens the registry book and writes, as he questions the prisoner.) (Orchestra) 141

tosca

CARCERIERE Mario Cavaradossi? (Cavaradossi china il capo, assentendo. Il Carceriere porge la penna al sergente.) A voi. (a Cavaradossi) Vi resta un’ora; un sacerdote i vostri cenni attende. CAVARADOSSI No, ma un’ultima grazia io vi richiedo. CARCERIERE Se posso… CAVARADOSSI Io lascio al mondo una persona cara. Consentite ch’io le scriva un sol motto. (togliendo dal dito un anello) Unico resto di mia ricchezza è questo anel. Se promettete di consegnarle il mio ultimo addio, esso è vostro. CARCERIERE (tituba un poco, poi accetta e, facendo cenno a Cavaradossi di sedere alla tavola, va a sedere sulla panca) Scrivete. CAVARADOSSI (si mette a scrivere, [7] ma dopo tracciate alcune linee è invaso dalle rimembranze) [36] 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, 142

act three

JAILER Mario Cavaradossi? (Cavaradossi bows his head in acknowledgement. The Jailer hands the pen to the sergeant.) For you. (to Cavaradossi) You have one hour. A priest awaits your call. CAVARADOSSI No… but I have a last favour to ask of you. JAILER If I can… CAVARADOSSI One very dear person I leave behind me. Permit me to write her a few lines. (taking a ring from his finger) This ring is all that remains of my possessions. If you will promise to give her my last farewell, then it is yours. JAILER (He hesitates a little, then accepts. He motions Cavaradossi to the chair at the table, and sits down on the bench.) Write. CAVARADOSSI (He begins to write, [7] but after a few lines a flood of memories invades him.) [36] And the stars shone and the earth was perfumed. The gate to the garden creaked and a footstep rustled the sand to the path… Fragrant, she entered and fell into my arms… Oh, soft kisses, oh, sweet abandon, 143

tosca

mentr’io fremente le belle forme disciogliea dai veli! Svanì per sempre il sogno mio d’amore… L’ora è fuggita… E muoio disperato! E non ho amato mai tanto la vita! (Scoppia in singhiozzi. Dalla scala viene Spoletta accompagnato dal sergente e seguito da Tosca. [7] Spoletta accenna a Tosca ove trovasi Cavaradossi, poi chiama a sé il Carceriere; con questi e col sergente ridiscende, non senza prima avere dato ad una sentinella, che sta in fondo, l’ordine di sorvegliare il prigioniero. Tosca vede Cavaradossi piangente, colla testa fra le mani; gli si avvicina e gli solleva la testa. Cavaradossi balza in piedi sorpreso. Tosca gli presenta convulsa un foglio, non potendo parlare per l’emozione.) (Orchestra) CAVARADOSSI (leggendo) Ah! Franchigia a Floria Tosca… …e al cavalier che l’accompagna. TOSCA (leggendo insieme a lui con voce affannosa e convulsa) …e al cavalier che l’accompagna. (a Cavaradossi con un grido d’esultanza) Sei libero! CAVARADOSSI (guarda il foglio; ne vede la firma) Scarpia!… Scarpia che cede? La prima sua grazia è questa… TOSCA E l’ultima! CAVARADOSSI Che dici? TOSCA Il tuo sangue o il mio amore volea. Fur vani scongiuri e pianti. 144

[1]

act three

as I trembling unloosed her veils and disclosed her beauty. Oh, vanished for ever is that dream of love, fled is that hour… and desperately I die. And never before have I loved life so much! (He bursts into sobs, Spoletta appears at the stairhead, the sergeant at his side and Tosca following. [7] Spoletta indicates where Cavaradossi is and then calls the Jailer. He warns the guard at the rear to keep careful watch on the prisoner, and then leaves with the sergeant and the Jailer. Tosca sees Cavaradossi weeping, his head in his arms. She lifts his head, and he jumps to his feet in astonishment. Tosca shows him a note but is far too overcome with emotion to speak.) (Orchestra) CAVARADOSSI (reading) Ah! A safe-conduct for Floria Tosca… …and for the Cavalier accompanying her. TOSCA (reading with him in a hoarse and shaken voice) …and for the Cavalier accompanying her. (to Cavaradossi with an exultant cry) You are free! CAVARADOSSI (He studies the pass and sees the signature.) Scarpia!… Scarpia yields? This is his first act of clemency… TOSCA And his last! CAVARADOSSI What? TOSCA Either your blood or my love he demanded: my entreaties and my tears were useless. 145

[1]

tosca

Invan, pazza d’orror, alla Madonna mi volsi e ai Santi… L’empio mostro dicea: già nei cieli il patibol le braccia leva! Rullavano i tamburi… Rideva, l’empio mostro, rideva, già la sua preda pronto a ghermir! ‘Sei mia!’ Sì. Alla sua brama mi promisi. Lì presso luccicava una lama… Ei scrisse il foglio liberator, venne all’orrendo amplesso… Io quella lama gli piantai nel cor.

[13]

[31] [29] [33]

CAVARADOSSI Tu, di tua man l’uccidesti? Tu pia, tu benigna, e per me! TOSCA N’ebbi le man tutte lorde di sangue! CAVARADOSSI (prendendo amorosamente fra le sue le mani di Tosca) O dolci mani mansuete e pure, [37] o mani elette a bell’opre pietose, a carezzar fanciulli, a coglier rose, a pregar, giunte, per le sventure, dunque in voi, fatte dall’amor secure, giustizia le sue sacre armi depose? Voi deste morte, o mani vittoriose, [33] o dolci mani mansuete e pure! TOSCA (svincolando le mani) Senti, l’ora è vicina. Io già raccolsi oro e gioielli, una vettura è pronta… Ma prima… ridi, amor… prima sarai fucilato… per finta, ad armi scariche. Simulato supplizio. Al colpo, cadi; i soldati sen vanno, e noi siam salvi! Poscia a Civitavecchia, una tartana, e via per mar! 146

[38]

act three

Wild with horror, I appealed in vain to the Madonna and the Saints. The damnable monster told me that already the gallows stretched their arms skyward! The drums rolled and he laughed, the evil monster, laughed, ready to spring and carry off his prey! Is it yes? He asked, and yes, I promised myself to his lust. But there at hand a sharp blade glittered: he wrote out the liberating pass, and came to claim the horrible embrace… That pointed blade I planted in his heart.

[13]

[31] [29] [33]

CAVARADOSSI You, with your own hand you killed him? You tender, you gentle – and for me! TOSCA My hands were reeking with his blood! CAVARADOSSI (lovingly taking her hands in his) Oh, sweet hands pure and gentle. Oh, hands meant for the fair works of piety, caressing children, gathering roses, for prayers when others meet misfortune… Then it was in you, made strong by love, that justice placed her sacred weapons? You dealt out death, victorious hands, oh, sweet hands pure and gentle.

[37]

[33]

TOSCA (disengaging her hands from his) Listen, the hour is near. I have already [38] collected my gold and jewels. A carriage is waiting… But first… Oh, laugh at this, my love… First you will be shot, in play and pretence, with unloaded arms… mock punishment. Fall down at the shot, the soldiers leave, and we are safe! And then to Civitavecchia, and there a ship, and we’re away by sea! 147

tosca

CAVARADOSSI Liberi! TOSCA Liberi! CAVARADOSSI E via pel mar! TOSCA Chi si duole in terra più? Senti effluvi di rose? Non ti par che le cose aspettan tutte innamorate il sole? CAVARADOSSI (con la più tenera commozione) Amaro sol per te m’era il morire, da te la vita prende ogni splendore, all’esser mio la gioia ed il desire nascon di te, come di fiamma ardore. Io folgorare i cieli e scolorire vedrò nell’occhio tuo rivelatore, e la beltà delle cose più mire avrà sol da te voce e colore. TOSCA Amor che seppe a te vita serbare ci sarà guida in terra, e in mar nocchiere, e vago farà il mondo riguardare, finché congiunti alle celesti sfere dileguerem, siccome alte sul mare al sol cadente, nuvole leggere! (Rimangono commossi, silenziosi; poi Tosca, chiamata dalla realtà delle cose, si guarda attorno, inquieta.) E non giungono… (Si volge a Cavaradossi con premurosa tenerezza.) Bada! Al colpo egli è mestiere che tu subito cada…

[38]

148

act three

CAVARADOSSI Free! TOSCA Free! CAVARADOSSI Away by sea! TOSCA Where now have pain and sorrow fled? Do you smell the aroma of the roses? Do you feel that all things on the earth await the sun enamoured? CAVARADOSSI (with tender exaltation) Only for you did death taste bitter for me, and only you invest this life with splendour. All joy and all desire, for my being, are held in you as heat within flame. I now shall see through your transfiguring eyes, the heavens blaze and the heavens darken; and the beauty of all things remarkable from you alone will have their voice and colour. TOSCA The love that found the way to save your life shall be our guide on earth, our pilot on the waters, and make the wide world lovely to our eyes; until together we shall fade away beyond the sphere of earth, as light clouds fade, at sundown, high above the sea. (They are stirred and silent. Then Tosca, recalled to reality, looks about uneasily.) They still don’t come… (turning to Cavaradossi with affectionate concern) And be careful! When you hear the shot you must fall down at once… 149

[38]

tosca

CAVARADOSSI (la rassicura) Non temere che cadrò sul momento, e al naturale. TOSCA (insistente) Ma stammi attento di non farti male! Con scenica scienza io saprei la movenza. CAVARADOSSI (la interrompe, attirandola a sé) Parlami ancor come dianzi parlavi, è così dolce il suon della tua voce! TOSCA (si abbandona, quasi estasiata) Uniti ed esulanti diffonderan pel mondo i nostri amori, armonie di colori… TOSCA e CAVARADOSSI Armonie di canti diffonderem! (con grande entusiasmo) Trionfal di nova speme l’anima freme in celestial crescente ardor. Ed in armonico vol già l’anima va all’estasi d’amor.

[39]

TOSCA Gli occhi ti chiuderò con mille baci e mille ti dirò nomi d’amor. (Frattanto dalla scaletta è salito un drappello di soldati: lo comanda un Ufficiale, il quale schiera i soldati nel fondo; seguono Spoletta, il sergente, il Carceriere. Spoletta dà le necessarie istruzioni. Il cielo si fa più luminoso; è l’alba; suonano le quattro. Il Carceriere si avvicina a Cavaradossi e togliendosi il berretto gli indica l’Ufficiale.)

150

act three

CAVARADOSSI (reassuring her) Have no fear, I’ll fall on the instant, and quite naturally. TOSCA (insisting) But be careful not to hurt yourself. With my experience in the theatre I’d know how to manage it. CAVARADOSSI (interrupting and drawing her to him) Speak to me again as you spoke before. So sweet is the sound of your voice. TOSCA (carried away with rapture) Together in exile we shall bear our love through the world. Harmonies of colour… TOSCA and CAVARADOSSI And harmonies of song! (ecstatically) Triumphant, the soul trembles with new hope in heavenly increasing ardour. And in harmonious flight the spirit soars to the ecstasy of love.

[39]

TOSCA With a thousand kisses I shall seal your eyes, and call you by a thousand names of love. (Meanwhile a squad of soldiers has entered from the stairway. The Officer in command ranges them to the rear. Enter Spoletta, the sergeant and the Jailer, Spoletta giving the necessary orders. The sky lightens; dawn appears; a bell strikes four. The Jailer goes to Cavaradossi, removes his cap and nods towards the Officer.)

151

tosca

CARCERIERE L’ora! CAVARADOSSI Son pronto. (Il Carceriere prende il registro dei condannati e parte dalla scaletta.) TOSCA (a Cavaradossi, con voce bassissima e ridendo di soppiatto) Tieni a mente: al primo colpo, giù… CAVARADOSSI (sottovoce, ridendo esso pure) Giù. TOSCA Né rialzarti innanzi ch’io ti chiami.

[38]

CAVARADOSSI No, amore! TOSCA E cadi bene… CAVARADOSSI Come la Tosca in teatro… TOSCA Non ridere… CAVARADOSSI Così? TOSCA Così. (Cavaradossi segue l’Ufficiale dopo aver salutato Tosca, [40] la quale si colloca a sinistra nella casamatta, in modo però di poter spiare quanto succede sulla piattaforma. Essa vede l’Ufficiale ed il sergente che conducono Cavaradossi presso il muro di faccia a lei; il sergente vuol porre la benda agli occhi di Cavaradossi; questi, sorridendo, rifiuta. Tali lugubri preparativi stancano la pazienza di Tosca.) TOSCA Com’è lunga l’attesa! 152

act three

JAILER It is time. CAVARADOSSI I am ready. (The Jailer takes the registry of the condemned and leaves by the stairway.) TOSCA (to Cavaradossi, speaking low and laughing secretly) Remember: at the first shot, down… CAVARADOSSI (in a low voice, also laughing) Down. TOSCA And don’t get up before I call you…

[38]

CAVARADOSSI No, beloved! TOSCA And fall down properly… CAVARADOSSI Like Tosca on the stage… TOSCA You mustn’t laugh… CAVARADOSSI So? TOSCA So. (Their farewells over, Cavaradossi follows the Officer. [40] Tosca takes her place on the left side of the casemate, in position, however, to observe what is happening on the platform. She sees the Officer and the sergeant lead Cavaradossi towards the wall directly facing her. The sergeant wishes to blindfold Cavaradossi who declines with a smile. The grim preparations begin to strain Tosca’s patience.) TOSCA How long is this waiting! 153

tosca

Perché indugiano ancor? Già sorge il sole; perché indugiano ancora? È una commedia, lo so, ma questa angoscia eterna pare. (L’Ufficiale e il sergente dispongono il plotone dei soldati, impar­ tendo gli ordini relativi.) Ecco! Apprestano l’armi! Com’è bello il mio Mario! (L’Ufficiale abbassa la sciabola, i soldati sparano e Cavaradossi cade.) Là! Muori! Ecco un artista! (Il sergente si avvicina al caduto e lo osserva attentamente. Spoletta pure si è avvicinato per impedire al sergente di dare il colpo di grazia; quindi copre Cavaradossi con un mantello. L’Ufficiale allinea i soldati, il sergente ritira la sentinella che sta in fondo, poi tutti, preceduti da Spoletta, scendono la scala. Tosca è agitatissima; essa sorveglia questi movimenti temendo che Cavaradossi, per impazienza, si muova o parli prima del momento opportuno; [40] dice a voce repressa verso Cavaradossi:) O Mario, non ti muovere… S’avviano, taci! Vanno, scendono. (Vista deserta la piattaforma, va ad ascoltare presso l’imbocco della scaletta; vi si arresta trepidante, affannosa, parendole che i soldati ritornino. Di nuovo si volge a Cavaradossi con voce bassa.) Ancora non ti muovere… (Ascolta; si sono tutti allontanati. Corre verso Cavaradossi.) Presto! Su, Mario! Mario! Su! Presto! Andiam! Su! Su! (Si inginocchia, toglie rapidamente il mantello e balza in piedi livida, atterrita.) Mario! Mario! Morto! Morto! (Singhiozzando si butta sul corpo di Cavaradossi.) 154

act three

Why are they still delaying? The sun already rises. Why are they still delaying? It is only a comedy, I know, but this anguish seems to last for ever! (The Officer and the sergeant marshal the squad of soldiers before the wall and impart their instructions.) There! They are taking aim! How handsome my Mario is! (The Officer lowers his sabre, the platoon fires and Cavaradossi falls.) There! Die! Ah, what an actor! (The sergeant goes up to examine the fallen man. Spoletta also approaches to prevent the sergeant from delivering the coup de grâce, and he covers Cavaradossi with a cloak. The Officer realigns the soldiers. The sergeant withdraws the sentinel from his post at the rear and Spoletta leads the group off by the stairway. Tosca follows this scene with the utmost agitation, fearing that Cavaradossi may lose patience and move or speak before the proper moment. [40] In a hushed voice she warns him:) Oh Mario, do not move… They’re going now. Be still. They are going down… (Seeing the platform deserted, she goes to listen at the stairhead. She stands there for a moment in fear and trepidation as she thinks she hears the soldiers returning. Again in a low voice she warns Cavaradossi.) Not yet, you mustn’t move… (She listens; they have all gone. She runs towards Cavaradossi.) Quickly! Up, Mario! Mario! Up! Quickly. Come. Up! Up! (She kneels and quickly removes the cloak and leaps to her feet, pale and terrified.) Mario! Mario! Dead! Dead! (sobbing, she throws herself on Cavaradossi’s body.) 155

tosca

O Mario, morto? Tu? Così? Finire così? Così! (Intanto dal cortile al di sotto del parapetto e su dalla piccola scala arrivano prima confuse poi sempre più vicine le voci di Sciarrone, di Spoletta e di alcuni soldati.) VOCI CONFUSE Scarpia? Pugnalato! SCIARRONE Vi dico, pugnalato! VOCI CONFUSE La donna è Tosca! Che non sfugga! Attenti agli sbocchi delle scale! (Spoletta appare dalla scala, mentre Sciarrone, dietro a lui, gli grida, additando Tosca.) SCIARRONE È lei! SPOLETTA (gettandosi su Tosca) Ah, Tosca, pagherai ben cara la sua vita! (Tosca balza in piedi e respinge Spoletta violentemente, rispondendogli:) TOSCA Colla mia! (All’urto inaspettato Spoletta dà addietro e Tosca rapida gli sfugge, e correndo al parapetto si getta nel vuoto gridando:) O Scarpia, avanti a Dio!

[36]

(Sciarrone ed alcuni soldati, saliti confusamente, corrono al parapetto e guardano giù. Spoletta rimane esterrefatto, allibito.)

156

act three

Oh Mario, dead? You? Like this? Dead like this? (From the courtyard below the parapet and from the narrow stairway come the confused voices of Spoletta, Sciarrone and the soldiers. They draw nearer.) CONFUSED VOICES Scarpia stabbed? SCIARRONE Yes, stabbed, I tell you! CONFUSED VOICES The woman is Tosca! Don’t let her escape. Keep an eye on the way out via the stairs! (Spoletta rushes in from the stairway, and behind him Sciarrone shouting and waving at Tosca.) SCIARRONE There she is! SPOLETTA (charging towards Tosca) Ah, Tosca, you will pay for his life most dearly! (Tosca springs to her feet, pushing Spoletta violently, answering:) TOSCA With my own! (Spoletta falls back from the sudden thrust. Tosca escapes and runs to the parapet, she leaps onto it and hurls herself over the ledge, crying:) Oh, Scarpia! Before God!

[36]

(Sciarrone and soldiers rush in confusion to the parapet and look down. Spoletta stands stunned and pale.)

157

Select Discography For detailed information and comparisons, see Edward Greenfield, ‘Tosca’, Opera on Record, ed. Alan Blyth (London: Hutchinson, 1979), pp. 591–604, and Conrad L. Osborne, ‘Tosca (1900)’, The Metropolitan Opera Guide to Recorded Opera, ed. Paul Gruber (London and New York: Thames and Hudson, 1993), pp. 411–25. year



cast (tosca

conductor/orchestra

label

cavaradossi scarpia)

1952

Renata Tebaldi Giuseppe Campora Enzo Mascherini

Alberto Erede Santa Cecilia Academy, Rome

Pearl

1953

Maria Callas Giuseppe di Stefano Tito Gobbi

Victor de Sabata La Scala, Milan

EMI Classics

1957

Zinka Milanov Franco Corelli Giangiacomo Guelfi

Alexander Gibson Royal Opera House, Covent Garden

ROH Heritage (Live)

1959

Renata Tebaldi Mario del Monaco George London

Francesco Molinari-Pradelli Santa Cecilia Academy, Rome

Decca

1962

Leontyne Price Giuseppe di Stefano Giuseppe Taddei

Herbert von Karajan Vienna Philharmonic

Decca

1964

Maria Callas Renato Cioni Tito Gobbi

Carlo Felice Cillario Royal Opera House, Covent Garden

EMI Classics (Live)

1964

Maria Callas Carlo Bergonzi Tito Gobbi

Georges Prêtre La Société des Concerts du Conservatoire, Paris

EMI

159

tosca

1966

Birgit Nilsson Lorin Maazel Franco Corelli Santa Cecilia Academy, Dietrich Fischer-Dieskau Rome

Decca

1972

Leontyne Price Plácido Domingo Sherrill Milnes

Zubin Mehta New Philharmonia

RCA

1976

Montserrat Caballé José Carreras Ingvar Wixell

Colin Davis Royal Opera House, Covent Garden

Philips

1978

Mirella Freni Luciano Pavarotti Sherrill Milnes

Nicola Rescigno National Philharmonic

Decca

1979

Katia Ricciarelli José Carreras Ruggero Raimondi

Herbert von Karajan Berlin Philharmonic

DG

1980

Renata Scotto Plácido Domingo Renato Bruson

James Levine Philharmonia

EMI Classics

1984

Kiri Te Kanawa Giacomo Aragall Leo Nucci

Georg Solti National Philharmonic

Decca

1988

Éva Marton José Carreras Juan Pons

Michael Tilson Thomas Hungarian State Orchestra

Sony

1990

Mirella Freni Plácido Domingo Samuel Ramey

Giuseppe Sinopoli Philharmonia

DG

1990

Raina Kabaivanska Luciano Pavarotti Ingvar Wixell

Daniel Oren Royal Opera House, Covent Garden

RCA

1996

Jane Eaglen David Parry Dennis O’Neill Philharmonia Gregory Yurisich

Chandos (sung in English)

2001

Angela Gheorghiu Roberto Alagna Ruggero Raimondi

EMI Classics

Antonio Pappano Royal Opera House, Covent Garden

160

Tosca on DVD For a fuller list of non-commercial and television films, see Ken Wlaschin, Encyclopedia of Opera on Screen (Yale: Yale University Press, 2004). year



cast (tosca

conductor

director / company

cavaradossi scarpia)

1961* Renata Tebaldi Arturo Basile Gianni Poggi Giangiacomo Guelfi

Bruno Nofri Tokyo Bunka Kaikan

1961* Renata Tebaldi Giuseppe Patanè Eugene Tobin George London

Werner Dobbertin Stuttgart Opera

1964*+ Maria Callas Carlo Felice Cillario Franco Zeffirelli Renato Cioni Royal Opera House, Tito Gobbi Covent Garden 1976

Raina Kabaivanska Bruno Bartoletti Plácido Domingo Sherrill Milnes

Gianfranco De Bosio Filmed in the original settings

1985

Hildegard Behrens Giuseppe Sinopoli Plácido Domingo Cornell MacNeil

Franco Zeffirelli Metropolitan Opera

1992

Catherine Malfitano Zubin Mehta Plácido Domingo Ruggero Raimondi

Giuseppe Patroni Griffi Filmed in the original settings

1998

Catherine Malfitano Riccardo Chailly Richard Margison Bryn Terfel

Nikolaus Lehnhoff Netherlands Opera

161

tosca

2000

Maria Guleghina Riccardo Muti Salvatore Licitra Leo Nucci

Luca Ronconi La Scala, Milan

2002

Angela Gheorghiu Antonio Pappano Roberto Alagna Ruggero Raimondi

Benoît Jacquot Filmed on location and in the recording studio

2004

Daniela Dessi Maurizio Benini Fabio Armiliato Ruggero Raimondi

Nuria Espert Teatro Real, Madrid

2007

Nadja Michael Ulf Schirmer Zoran Todorovich Gidon Saks

Philipp Himmelmann Bregenz Festival

*black and white +Act Two only

162

Select Bibliography Acton, Harold. The Bourbons of Naples 1734–1825 (London: Methuen, 1956) Adami, Giuseppe. Letters of Giacomo Puccini (London: George G. Harrap, 1931, rev. 1974) Budden, Julian. Puccini: His Life and Works (New York: Oxford University Press, 2002) Carner, Mosco. Giacomo Puccini: Tosca (Cambridge: Cambridge University Press, 1985) Carner, Mosco. Puccini: A Critical Biography (London: Gerald Duckworth & Co., 1958, rev. 1992) Gossett, Philip and others. New Grove Masters of Italian Opera (London: Macmillan, 1983) Greenfield, Edward. Puccini: Keeper of the Seal (London: Arrow Books, 1958) Greenfeld, Howard. Puccini: A Biography (New York: G.P. Putnam’s Sons, 1980) Kerman, Joseph. Opera as Drama (New York: Alfred A. Knopf, 1956, rev. 2005) Nicassio, Susan Vandiver. Tosca’s Rome (Chicago: University of Chicago Press, 1999) 163

tosca

Phillips-Matz, Mary Jane. Puccini: A Biography (Boston: Northeastern University Press, 2002) Weaver, William and Puccini, Simonetta (eds.). The Puccini Companion: Essays on Puccini’s Life and Music (New York: W.W. Norton, 1994) Wilson, Alexandra. The Puccini Problem: Opera, Nationalism and Modernity (Cambridge: Cambridge University Press, 2007) Woolf, Stuart. A History of Italy 1700–1860: The Social Constraints of Political Change (London: Methuen, 1979)

Puccini Websites In English or with an English-language option Centro Studi Giacomo Puccini: www.puccini.it Opera Glass: opera.stanford.edu/Puccini

164

Note on the Contributors Sir Bernard Williams, who died in 2003, was an interna­tionally renowned moral philosopher with a lifelong love of opera. He served on the Board of ENO for over twenty years. A collection of his essays, On Opera, was published in 2006. Bernard Keeffe is a conductor and broadcaster and also responsible for many television music features. He is a former head of BBC radio opera and was controller of opera planning at the Royal Opera House. Stuart Woolf has been Professor of Modern History at the University of Essex and is now Professor of Contemporary History at the University of Venice. His books include A History of Italy 1700–1860: The Social Constraints of Political Change.

Acknowledgements We would like to thank John Allison of Opera magazine and Simonetta Bigongiari of the Centro Studi Giacomo Puccini, Lucca, for their advice and assistance in the preparation of this Guide.

www.overturepublishing.com www.eno.org