TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting. Cavaradossi eventually very likeness of the marchesa has been transferred into his assuages her suspicions and the two plan to meet after she work, though the two have never met. sings in a concert that evening. Before she leaves, she play - Cavaradossi enters the chapel, assisted by the sacristan and fully insists that Cavaradossi change the blue eyes in the begins work on the painting. He pauses to take out a small painting to dark brown, to match her own. medallion from his pocket which contains a miniature por - Angelotti reappears and the two plan his escape. Angelotti trait of his lover and celebrated singer, Floria Tosca will don woman’s attire (a costume his sister had hidden in (“Recondita armonia”). He compares the fair beauty of the the altar) and flee to Cavaradossi’s villa. If necessary, Marchesa Attavanti to the striking dark hair and eyes of Angelotti will hide in the painter’s well. Cavaradossi swears, Tosca. The sacristan leaves Cavaradossi alone to paint. even if it costs him his life, he will save Angelotti from the Angelotti quickly comes out of hiding to speak to authorities. A cannon shot from the Castel Sant’Angelo Cavaradossi, his friend and political ally. He tells of his warns that the dissident’s escape has been discovered and escape from the Castel Sant’Angelo but is interrupted by the compels him to flee; the painter exits the church with him. arrival of Tosca. The conversation ceases and Cavaradossi The sacristan reenters followed by a noisy group of choir Erika Sunnegårdh as Tosca and William Joyner as Cavaradossi in Nashville Opera’s last production of TOSCA, 2009 boys, as they prepare a Te Deum for the upcoming mass cel - chamber and quickly learns of Tosca’s mistake just as the ebrating a victory against Napoleon. All is silenced at the officer, Sciarrone, charges in to announce Napoleon’s victo - arrival of Scarpia, chief of police, who is searching for ry at the Battle of Marengo, a win for Scarpia’s side. Angelotti, his escaped prisoner. Tosca returns seeking Cavaradossi shouts rebelliously and is taken away to be exe - Cavaradossi and is devastated when Scarpia shows her the cuted. Tosca pleads for the release of her lover and Scarpia crested fan he found bearing the mark of Marchesa calmly offers to let him go on the condition that she give Attavanti’s family. Tosca bursts into tears thinking once herself to him. She fights off the advances. At the peak of again Cavaradossi as unfaithful. Vowing vengeance, she her struggle she thinks of her fate, how the life of her leaves the church as the worshippers fill the sanctuary. beloved is at the mercy of Scarpia, and asks why God has Scarpia sends his men to follow her, thinking she will lead seemingly abandoned her saying, “I lived for my art, I lived them back to Cavaradossi whom he suspects is hiding for love, and always with true faith I gave flowers to the Angelotti. (“Tre sbirri… Una carozza…”) As the congrega - altar. Why, God, in my hour of grief would you forsake tion sings the Te Deum, Scarpia, who has separated himself me?” (“Vissi d’arte”) Scarpia draws near to Tosca, ready to from the crowd reveals his terrible plan and two goals: the retrieve his prize when Spoletta interrupts with the news first, to send Cavaradossi to the gallows and the second, to that Angelotti had killed himself upon his capture. Tosca send Tosca to his arms. He obsessively bellows, “Tosca— then agrees to Scarpia’s conditions to save Cavaradossi and you make me forget God!” is assured that his execution would be staged; that the actions would be carried out but with blank bullets so that ACT II - The Palazzo Farnese soon after, Cavaradossi would be able to escape. Scarpia writes a safe-conduct for the two lovers. Tosca, who had Scarpia is alone in the Palazzo Farnese, his palace. He cyn - concealed a knife in the folds of her gown, brutally stabs ically sings of his impending power over Tosca and antici - Scarpia as she declares, “This is the kiss of Tosca!” She pates Angelotti’s recapture (“Ha più forte sapore”). After wrenches the document from his hands and quietly leaves his spy, Spoletta, arrives, he finds that instead of Angelotti, the room. they have found Cavaradossi. Scarpia interrogates the painter as Tosca is heard singing at a royal gala in the same ACT III - C astel Sant’Angelo building. Cavaradossi is soon sent away to be tortured and Scarpia sends for Tosca. He pressures her for information all the while Cavaradossi screams in anguish in the distance. Cavaradossi awaits his execution and is overcome with Frightened, she mistakenly gives the location of Angelotti. despair. Reflecting on his love of Tosca, he bids her Soon after, the wounded Cavaradossi is led back to the farewell in a letter (“E lucevan le stelle”). Tosca finds Cavaradossi and quickly informs him of the plan to fake his execution and death. She urges him to die convincingly so they may flee together and begin a happy future of freedom. The firing squad appears and the execution is carried out. After the soldiers leave, Tosca goes to Cavaradossi and asks him to hurry so they may begin their escape. When he doesn’t move, she discovers that Scarpia had deceived her and the bullets were real. Spoletta furiously attempts to arrest Tosca for murder as she curses Scarpia and leaps off the ramparts of the castle, falling to her death. The Castel Sant’Angelo Once the tallest building in Rome (thus a great place to stage an operatic exit!) this distinctive round structure on the left bank of the Tiber was originally built as a mausoleum for the Roman Emperor Hadrian. Later popes came to use it as a fortress and castle. Its name comes from a flashy legend that has the Archangel Michael appearing on the top in 590 to announce the end of the plague. You can visit the Castel today, plague-free, as it is one of Italy’s national museums. LISTEN FOR THIS! Recondita armonia (aria) “Tosca—you make me forget God!” has seemingly abandoned her saying, “I Cavaradossi compares the fair beauty of lived for my art, I lived for love and always the Marchesa Attavanti to the striking dark Ha più forte sapore (aria) with true faith I gave flowers to the altar. hair and eyes of Tosca, his lover. Scarpia is alone in the Palazzo Farnese, his Why, God, in my hour of grief would you palace. He cynically sings of his impending forsake me?” Tre sbirri, una carozza (aria and ensemble) power over Tosca and anticipates As the congregation sings the Te Deum, Angelotti’s recapture. E lucevan le stelle (aria) Scarpia, who has separated himself from Cavaradossi awaits his execution, over - the crowd, reveals his terrible plan and two Vissi d’arte (aria) come with despair. Reflecting on his love goals: the first, to send Cavaradossi to the Tosca, at the peak of her struggle, thinks of of Tosca, he bids her farewell in a letter. gallows and the second, to send Tosca to her fate and knows the life of her beloved is his arms. He obsessively bellows, at the mercy of Scarpia. She asks why God Stefan Szkafarowsky as the Sacristan in Nashville Opera’s TOSCA, 2009 RECOMMENDED RECORDINGS AUDIO VIDEO Puccini: Tosca - Live in Rome, 1993 EMI, 1953 Plácido Domingo, Catherine Malfitano, Ruggero Raimondi Maria Callas, Giuseppe di Stefano, Tito Gobbi Symphony Orchestra and Chorus of Rome Rai Orchestra and chorus of La Scala, Milan Zubin Mehta, conductor Victor de Sabata, conductor Tosca DVD Team Marketing, 2005 Decca Records, 1959 Angela Gheorghiu, Robert Alagna, Ruggero Raimondi Renata Tebaldi, Mario del Monaco, George London A film by Benoit Jacquat Orchestra e coro dell’Accademia di Santa Cecilia, Roma Francesco Molinari-Pradelli, conductor Decca Records, 1962 Leontyne Price, Fernando Corena, Giuseppe Taddei Wiener Philharmoniker Herbert von Karajan, conductor ABOUT THE COMPOSER GIACOMO PUCCINI | 1858 –1924 Giacomo Puccini (1858 –1924) was born Giacomo Antonio the correct version of the Te Deum plainchant used in Act I, an Domenico Michele Secondo Maria Puccini in the city of Lucca, expert in church bells to find out which bells were rung for early ser - Italy.