56th SEASON Tonight’s performance is dedicated to KSO’s founder, Leslie Head, to celebrate his 90th year

Leslie Head was born in Hove in 1922. In the days when even the most unmusical family, as was his, had a piano in the front room, he took lessons, soon developing a flair for improvising the popular music of the day, and at 15 he set up a school dance band. Further musical study was delayed by over five years spent outside London in the war as a radio operator. Afterwards he managed, in his own words “on only the smallest amount of evidence and a great deal of luck” to gain entry to the Guildhall School of Music. Here he focussed on conducting and (as the orchestra was short of players) the French horn, never having played one before. This led to various positions as an orchestral player with the Carl Rosa Opera Company, the CBSO, the Scottish National Orchestra, and the RPO under Beecham. By 1955 Leslie had become the Co-Founder and Conductor of Morley College Symphony Orchestra and in the following year he founded Kensington Symphony Orchestra. In 1963 he took on the additional roles of music and artistic director of Opera Viva and, later, Pro Opera, KSO being the house orchestra for both enterprises. The repertoire covered was considerable by any standards. KSO was primarily, until the 1980s, a “rehearsal” orchestra—which is to say each week would focus on different music, honing the sight-reading skills of would-be professionals and keen amateurs alike. The concert and opera programmes themselves were then slotted into this schedule with relatively little rehearsal. Nevertheless, the KSO archives capture many glowing reviews of Leslie’s work from this era: “A true Verdian to the tip of his baton.” The Times. “His performances have an instinctive rightness of tempo. He knows when and how to broaden; when and how much to press on towards a climax. He breathes with the singer, inspiring them to eloquent phrasing.” Financial Times. “Leslie Head infected … KSO with his own obvious enthusiasm of the score … and his lively conducting made us realise La Rondine is a work we have neglected to our loss.” Music and Musicians. Many leading singers including Sarah Walker, John Tomlinson, Elizabeth Connell and Della Jones were provided with early opportunities by Leslie Head, and the list of first or revival UK performances of opera, choral and orchestral works is remarkable. It’s a tremendous legacy, the spirit of which lives on today and shows every sign of continuing. Puccini Tosca An opera in three acts Libretto by Luigi Illica and Giuseppe Giacosa

Floria Tosca: Naomi Harvey Mario Cavaradossi: Geraint Dodd Il barone Scarpia: Nicholas Folwell Il Sagrestano: William Robert Allenby Spoletta: David Newman Cesare Angelotti: Matthew Hargreaves Sciarrone/Il carceriere: Simon Lobelson Un pastore: Dominic Williams

Twickenham Choral Society Trinity Boys Choir Kensington Symphony Orchestra (leader Alan Tuckwood)

Conductor: Russell Keable There will be an interval of 20 minutes after Act I

Monday 14 May 2012, 7.30pm St. John’s, Smith Square

Cover taken from Zocchi’s “View of the Tiber looking towards the Castel Sant’Angelo, Saint Peter’s in the distance”

In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St. John’s. Smoking is not permitted anywhere in St. John’s. Refreshments are permitted only in the Restaurant in the Crypt. During the interval and after the concert the Restaurant in the Crypt is open for licensed refreshments. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. Box office tel: 020 7222 1061. Website: www.sjss.org.uk. For details of future events at St. John’s please send £8.00 annual subscription to the box office. St. John’s, Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. General Manager: Paul Davies. TONIGHT’S PROGRAMME

GIACOMO PUCCINI 1858–1924

Tosca

Puccini was born into music. He represented the fifth generation of a tradition stretching back to his namesake and great-great-grandfather, who was composer, organist and choirmaster at the San Martino Cathedral in Lucca in the early 18th century. When Giaocomo was only five his father died, and so it was his uncle who gave him his musical education. By the time he reached his teens he was making a living as a musician, playing and teaching organ and writing pieces for his organ pupils. Rumour has it that he also had a subsidiary income from stealing and selling the organ pipes; this apparently had the side effect of forcing him to improvise new harmonies for the music he played in church. At 17, he walked 30 miles from Lucca to Pisa to see a production of Verdi’s Aïda. Giacomo Puccini This was a revelation: “I felt that a musical window had opened for me,” he later said. “Almighty God touched me with his little finger and told me to write for the theatre—mind, only the theatre.” His mother, determined that her son should achieve the greatness that she was convinced was his destiny, persuaded a rich uncle of hers to contribute towards the fees for him to study in Milan. For the rest of the money, she wrote to Queen Margherita of Italy. Her melodramatic letter emphasised her son’s position as the youngest of “a dynasty of musicians” and asked the queen to help “a poor mother and an ambitious boy”. Her nerve paid off, and Puccini duly received a royal scholarship of one hundred lire per month for a year—not much, but enough for him to enroll at the Milan Conservatory in 1880. Puccini’s career as an opera composer began three years later, when he wrote Le Villi for a competition organised by the publisher Edoardo Sonzogno. The score was delivered at the last minute and rejected as illegible. Puccini was a fastidious man but this did not extend to his handwriting, which would remain notoriously bad throughout his career. Fortunately, another publisher, Ricordi, agreed to publish the opera and organise three performances. By the mid 1890s Puccini was established as a leading light of Italian opera, with both Manon Lescaut and La Bohème under his belt. Even before La Bohème was completed he was planning to adapt a play by the French dramatist Victorien Sardou, La Tosca. This had premiered in 1887 with Sarah Bernhardt in the title role. Its reviews were not good; many critics denounced it for its lurid plot. Despite (or perhaps because of) this it rapidly became Sardou’s most popular play. It is a melodramatic tale liberally laced with sex and sadism, and so a natural candidate for

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transformation into an opera. Puccini had seen Bernhardt in the play in 1895, although he was not impressed with her performance. However, unlike the authors he had previously adapted, Sardou was still very much alive, and Puccini needed to obtain the rights to adapt the play. His publisher Ricordi managed to negotiate an agreement with Sardou. Unfortunately Puccini then heard that Sardou had expressed a dislike of his music and misgivings as to whether he was the best composer to adapt La Tosca. Piqued, Puccini withdrew from the project. He turned his attention to another play, Maeterlinck’s Pelléas et Mélisande, but discovered that the rights had already been granted to Debussy. In the meantime, Ricordi had contracted Alberto Franchetti to compose Tosca, and Luigi Illica had begun work on a libretto. What happened next is a matter of dispute. Puccini apparently persuaded Franchetti that Tosca was a thoroughly unsuitable tale for an opera due to its unsavoury plot and emphasis on rape, murder and execution. The gullible Franchetti relinquished the project, and Ricordi promptly signed Puccini up to write it instead. However, some commentators assert that Franchetti had already tired of the project and relinquished it before Ricordi asked Puccini to take it on. Franchetti’s own family, meanwhile, hold that he selflessly gave the project back to Puccini, recognising the greater talent. Having secured the work, the composition of Tosca proved to be one of the least problematic jobs of Puccini’s career. The premiere in January 1900 was eventful: a bomb threat was made, which had to be taken seriously given that Queen Margherita had been invited. In the event there was no explosion, but the performance had to be restarted after an unruly group of latecomers were mistaken for anarchists. In the ensuing confusion the conductor, who had previously performed in a theatre where a bomb had in fact been detonated, panicked and fled. Once the conductor had been persuaded back the performance resumed, and the opera proved a popular success, notwithstanding the usual mixed reviews. Its place in the repertoire has been assured ever since. Puccini’s gift for a memorable tune and ability to handle large set pieces is of course a factor in his popularity, but it is in his extraordinary attention to detail that the deeper key to Tosca’s durability is to be found. Realism is inevitably a relative concept in opera, but Puccini took great pains to produce a credible evocation of the era and setting. He travelled to Rome to hear for himself the church bells that are evoked at the beginning of the final act, to ensure an accurate representation of how they would sound from the Castel Sant’Angelo where the opera’s denouement takes place. The melody of the famous Te Deum that closes Act 1 is an authentic period tune, while the cantata that Tosca is heard singing offstage at the start of Act 2 is a careful pastiche of Giovanni Paisiello, an 18th-century composer who had taught Puccini’s grandfather and supported the Napoleonic regime in Naples. He also took issue with Sardou’s suggestion that Tosca’s final plunge to her death should end in the Tiber; the river, Puccini pointed out, was on the other side of the castle.

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Synopsis

It is June 1800. Italy at this time is not a unified nation but a collection of small states. Rome was the centre of a republic established by Napoleon in 1798, but after the French withdrawal from Rome and much of the rest of Italy in 1799, the Kingdom of Naples occupied the city. Napoleon’s army has now returned to the country and engaged the Austrian Habsburgs (who occupy North-East Italy) in battle at Marengo, in Piedmont.

Act 1. Inside the church of Sant’Andrea della Valle in Rome, 1800 Cesare Angelotti, a former consul of Rome and a political prisoner, has escaped from the prison fortress of Castel Sant’Angelo. He enters the church of Sant’Andrea della Valle through a side door, and hides in the private chapel of the Attavanti family (his sister is the Marchesa Attavanti). Meanwhile, the painter Mario Cavaradossi is working on a portrait of Mary Magdalene in the church. Cavaradossi is a republican sympathiser and an old friend of Angelotti. He banters with an old Sacristan, and contrasts the blonde Magdalene with his dark-haired lover, the celebrated singer Floria Tosca. The Sacristan disapproves of such talk and leaves. Angelotti emerges and tells Cavaradossi that he is being pursued by the royalist police chief, Scarpia. Cavaradossi promises to help Angelotti, who then hurries back into hiding as Tosca arrives. She asks Cavaradossi supiciously what he is doing, and sings of her desire to take him home for a night of passion. She notices that the image of the Magdalene resembles the Marchesa and is jealous; Cavaradossi explains that he has simply observed the Marchesa at prayer in the church, and assures Tosca of his fidelity. She leaves, and Angelotti returns. He explains that he plans to flee disguised as a woman, wearing clothes that his sister has left in the chapel. Angelotti’s escape has now been discovered and a cannon signal is heard from the fortress. As Angelotti and Cavaradossi leave, the Sacristan returns with choristers, celebrating reports that Napoleon has been defeated at Marengo. The mood changes abruptly as Scarpia enters. He questions the Sacristan and, when he hears that Cavaradossi has been in the church, he is suspicious. The painter must be helping Angelotti to escape, he reasons. Tosca returns, and Scarpia suggests to her that her lover is having an affair with the Marchesa, citing a fan discarded in the chapel as evidence that the couple must have been surprised. Tosca falls for the story and goes off enraged to find Cavaradossi. Scarpia orders his agents to follow her, and gloats as he sings of his intention to hang the painter and ravish his lover. A procession enters the church, singing the Te Deum; Scarpia adds his own desires to the prayer.

Act 2. Scarpia’s apartment in the Palazzo Farnese, that evening Scarpia is at supper. He sends a message to Tosca asking her to join him. His henchman Spoletta arrives and tells him that Cavaradossi has been captured; the painter is brought in and questioned. Meanwhile the voice of Tosca can be heard singing a cantata in celebration of the supposed victory. Cavaradossi denies any knowledge of Angelotti’s whereabouts, and is taken off to be tortured. As he is taken off Tosca arrives and he snatches a moment with her, warning her to say nothing. Scarpia tells Tosca that she can save her lover from indescribable pain if she reveals where Angelotti is hiding. She resists, but Cavaradossi’s cries prove too much and she tells Scarpia what he wants to know.

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Cavaradossi is brought back. He recovers consciousness and is initially furious when he hears that Tosca has betrayed Angelotti. Then word arrives that Napoleon has in fact won the Battle of Marengo. Cavaradossi gives a defiant cry of “Victory!” before he is taken away. Scarpia offers a deal to Tosca: if she gives herself to him he will free Cavaradossi. She is revolted and rejects his advances. Outside the drums announce an imminent execution. She prays, but Scarpia is unmoved. News arrives that Angelotti killed himself on being discovered. Scarpia announces that Cavaradossi will die in the morning, but tells Tosca that if she submits to him he will fake the execution. In despair, Tosca agrees to Scarpia’s demands, and he gives instruction to Spoletta, telling him that the “execution” will be by firing squad “as we did with Count Palmieri”. Spoletta indicates that he understands, and leaves. Tosca insists that Scarpia provide a document of safe conduct for her and Cavaradossi. Scarpia agrees, and signs the document. He draws close to embrace her, but she grabs a knife from the supper table and stabs him to death. She lights candles and places a crucifix on the body before leaving.

Act 3. The upper parts of the Castel Sant’Angelo, early the following morning As the church bells sound for Matins, a shepherd boy can be heard singing in the distance. Cavaradossi is told that he has one hour to live. He refuses an offer to see a priest, but is allowed to write a final letter. He is soon overwhelmed by memories of Tosca. Tosca enters, and shows him the guarantee of safe conduct. She tells him that she has killed Scarpia, that the execution will be faked, that he must feign death and that afterwards they will escape before the body is found. Cavaradossi marvels at Tosca’s courage. They sing of the life they will have, although Tosca has her doubts that the painter will be able to fake his death convincingly. Cavaradossi is led away and Tosca waits impatiently as the last rites are carried out. Shots ring out, and Cavaradossi falls to the ground (“What an actor!” exclaims Tosca). The soldiers leave, and Tosca hurries over. She discovers that Cavaradossi is dead; Scarpia has double-crossed her. Off- stage voices reveal that Scarpia’s body has been found, and that Tosca’s guilt is known. Spoletta and the soldiers rush in, and Tosca climbs to a parapet. She declares that Scarpia will answer to God, and throws herself to her death.

© 2012 Peter Nagle

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ACT ONE

The Church of Sant’Andrea della Valle. On one side is the private chapel of the Attavanti family. On the other, there is a painter’s scaffold beside a large painting covered with cloth. On it are painters’ tools and a basket. SCENE ONE

Angelotti enters, nearly running. He is wearing prison clothes, and is dishevelled, tired, and shaking with fear. He looks around.

Angelotti Ah!… Finalmente!… Nel terror mio stolto Ah!… At last!… In my stupid fear vedea ceffi di birro in ogni volto. I saw a policeman’s jowl in every face.

Recognising the church, he calms down and looks around more closely. He sighs with relief as he notices the column with a figure of the Madonna and a basin of holy water. La pila… la colonna… The basin… the column… «A piè della Madonna» “At the base of the Madonna” mi scrisse mia sorella… my sister wrote to me…

Searching around at the base of the column, he finds a key. Ecco la chiave… ed ecco la Cappella! Here’s the key… and here’s the chapel!

He carefully unlocks and opens the chapel and enters, closing the gate behind him and disappearing inside. SCENE TWO

The Sacristan enters from the rear, carrying brushes, and muttering loudly to himself.

Sagrestano E sempre lava!… Forever washing!… Ogni pennello è sozzo Every brush is dirty peggio d’un collarin d’uno scagnozzo. worse than an urchin’s collar. Signor pittore… Tò!… Nessuno! Mister painter… There!… No one!

He looks towards the painter’s platform, and is surprised to see it empty. Avrei giurato che I would have sworn that fosse ritornato il cavalier Cavaradossi. the cavalier Cavaradossi had come back.

He puts the brushes down, climbs up, and looks at the basket. No, sbaglio. No, I’m mistaken. Il paniere è intatto. The basket has not been touched.

The bell sounds for the Angelus. He kneels and prays. Angelus Domini nuntiavit Mariae, The Angel of the Lord declared unto Mary, et concepit de Spiritu Sancto. and she conceived of the Holy Spirit. Ecce ancilla Domini; Behold the handmaid of the Lord; Fiat mihi secundum verbum tuum Be it done unto me according to Thy word Et Verbum caro factum est And the Word became flesh et habitavit in nobis… and dwelt among us… SCENE THREE

Cavaradossi enters from the side and sees the Sacristan kneeling.

Cavaradossi Che fai? What are you doing?

Sagrestano Recito l’Angelus. Reciting the Angelus.

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Cavardossi climbs onto the platform and uncovers the paining. It is of Mary Magdalene, depicted with great blue eyes and a cascade of blonde hair. He stands and looks at it closely.

The Sacristan turns, and shouts out in astonishment when he sees the face. Sante ampolle! Il suo ritratto!… Holy vessels! Her picture!…

Cavaradossi Di chi? Whose?

Sagrestano Di quell’ignota che i dì passati That girl who has these past days a pregar qui venìa… been coming here to pray… tutta devota e pia. with such devotion and piety.

Cavaradossi È vero. E tanto ell’era infervorata It is true. And so fervently absorbed nella sua preghiera ch’io ne pinsi, was she in prayer that I could paint, non visto, il bel sembiante. unnoticed, her lovely face.

Sagrestano (Fuori, Satana, fuori!) (Away, Satan, away!)

Cavaradossi Dammi i colori! Give me the paints!

The Sacristan passes him the paints, and Cavaradossi paints quickly, stopping often to look at his work. The Sacristan carries on washing brushes.

Suddenly, Cavaradossi takes out a locket with a miniature portrait, and his eyes flit between it and his own work. Recondita armonia Oh hidden harmony di bellezze diverse!… of contrasting beauties!… È bruna, Floria, She is dark, Floria, l’ardente amante mia, my true love,

Sagrestano (Scherza coi fanti e lascia stare i santi…) (Jest with knaves and neglect the saints…)

Cavaradossi e te, beltade ignota, and you, unknown beauty, cinta di chiome bionde!… crowned with blonde locks!… Tu azzurro hai l’occhio… Your eyes are blue… Tosca ha l’occhio nero! Tosca’s are black!

Sagrestano (Scherza coi fanti e lascia stare i santi!) (Jest with knaves and neglect the saints!)

Cavaradossi L’arte nel suo mistero Art in its mystery le diverse bellezze insiem confonde: blends together contrasting beauties: ma nel ritrar costei but while painting that woman il mio solo pensiero, ah! my sole thought, ah! il mio sol pensier sei tu, Tosca, sei tu! my sole thought is you, Tosca, it’s you!

Sagrestano (Queste diverse gonne (These various women che fanno concorrenza alle Madonne who compete with the Madonna mandan tanfo d’inferno. give the stench of hell. Scherza coi fanti e lascia stare i santi! Jest with knaves and neglect the saints! Ma con quei cani di volterriani, But to these revolutionary dogs, nemici del santissimo governo, enemies of the holy government, non c’è da metter voce… we cannot give voice… Scherza coi fanti e lascia stare i santi,) Jest with knaves and neglect the saints,)

pointing to Cavaradossi (Già sono impenitenti tutti quanti! (They are unrepentant the lot ot them! Facciam piuttosto il segno della croce.) Let us rather make the sign of the cross.)

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to Cavaradossi Eccellenza, vado. Excellency, I’m going.

Cavaradossi Fa il tuo piacere! Do as you wish!

Cavaradossi goes back to his painting. The Sacristan points to the basket.

Sagrestano Pieno è il paniere… The basket’s full… Fa penitenza? Are you doing penance?

Cavaradossi Fame non ho. I’m not hungry.

The Sacristan rubs his hands ironically, and smiles with glee as he looks at the full basket. He picks it up and places it to one side.

Sagrestano Oh!… mi rincresce!… Oh!… I’m sorry!… Badi, quand’esce chiuda. Make sure you close up when you leave.

Cavaradossi Va!… Go!…

Sagrestano Vo! I’m going!

The Sacristan exits. SCENE FOUR

Cavaradossi continues to paint with his back to the chapel. Angelotti reappears at its gate, and puts the key in the lock, believing the church to still be deserted. Cavaradossi turns at the creaking of the lock.

Cavaradossi Gente là dentro!… Someone in there!…

Angelotti is startled, and stops as though he is going to return to hiding, but he recognises Cavaradossi and almost cries out in joy. Smothering it, he raises his arms to the painter: an unexpected friend.

Angelotti Voi! Cavaradossi! You! Cavaradossi! Vi manda Iddio! God himself has sent you!

Cavaradossi does not recognise him and remains aloft. Angelotti moves closer, sad not to be recognised. Non mi ravvisate! You don’t recognise me! Il carcere m’ha dunque assai mutato! Prison then has greatly changed me!

When Cavaradossi looks closely at Angelotti, he recognises him. He quickly drops his tools and comes down, looking about wanly as he goes up to Angelotti.

Cavaradossi Angelotti! Il Console Angelotti! The Consul della spenta repubblica romana. of the extinguished Roman Republic.

He runs to close the door.

Angelotti Fuggii pur ora I have just escaped da Castel Sant’Angelo… from Castle Sant’Angelo…

Cavaradossi Disponete di me! I am at your service!

Tosca calls from outside.

Tosca Mario! Mario!

At her call, Cavaradossi motions to Angelotti to be quiet.

Cavaradossi Celatevi! È una donna… gelosa. Hide yourself! It’s a jealous woman. Un breve istante e la rimando. One moment and I’ll send her away.

Tosca Mario! Mario!

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Cavaradossi Eccomi! Here I am!

Angelotti Sono stremo di forze, più non reggo… I’m out of strength, I can’t stand…

Angelotti looks like he’s going to collapse with weakness. Cavaradossi gets the basket from the platform and ushers Angelotti towards the chapel with it.

Cavaradossi In questo panier v’è cibo e vino! There’s food and wine in this basket!

Angelotti Grazie! Thank you!

Cavaradossi Presto! Quickly! SCENE FIVE

Tosca Mario! Mario!

Cavaradossi Son qui! I am here!

Cavaradossi opens the door, and Tosca rushes in dramatically, pushing him aside as he tries to hold her. She looks around suspiciously.

Tosca Perché chiuso? Why was it locked?

Cavaradossi Lo vuole il Sagrestano… The Sacristan’s wish…

Tosca A chi parlavi? Who were you talking to?

Cavaradossi A te! To you!

Tosca Altre parole bisbigliavi. You were whispering other words. Ov’è?… Where is she?…

Cavaradossi Chi? Who?

Tosca Colei!… Quella donna!… Her!… That woman!… Ho udito i lesti passi I heard her quick steps e un fruscìo di vesti… and a rustling of clothes…

Cavaradossi Sogni! You’re dreaming!

Tosca Lo neghi? Do you deny it?

Cavaradossi tries to kiss her.

Cavaradossi Lo nego e t’amo! I deny it and I love you!

Tosca Oh! innanzi alla Madonna… Oh! before the Madonna… No, Mario mio, No, my Mario, lascia pria che la preghi, che l’infiori… first let me pray, and place these flowers…

Tosca goes to the statue of the Madonna and arranges the flowers she has brought, then kneels to pray. Finally, she rises to address Cavaradossi, who is working again. Ora stammi a sentir… stasera canto, Now listen… tonight I am singing, ma è spettacolo breve. but it’s a short show. Tu m’aspetti sull’uscio della scena Wait for me at the stage door e alla tua villa andiam soli, soletti. and we’ll go alone together to your villa.

Cavaradossi Stasera?! Tonight?!

Tosca È luna piena It is the full moon e il notturno effluvio floreal… and the nocturnal perfume of flowers… inebria il cor. Non sei contento? makes the heart drunk. Aren’t you happy?

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She sits on the steps near to him. Cavaradossi however remains somewhat distracted, and sounds it.

Cavaradossi Tanto! So happy!

Tosca Tornalo a dir! Say it again!

Cavaradossi Tanto! So happy!

Tosca Lo dici male: You say it poorly:

She climbs and sits next to him. non la sospiri la nostra casetta do you not dream of our small house che tutta ascosa nel verde ci aspetta? that waits for us in the country? nido a noi sacro, ignoto al mondo inter, a nest sacred to us, unknown to the world, pien d’amore e di mister? full of love and mystery? Al tuo fianco sentire At your side to listen per le silenziose stellate ombre, as through the starlit silence, salir le voci delle cose!… rise the voices of the night!… Dai boschi e dai roveti, From the woods and from the thickets, dall’arse erbe, dall’imo from the dry grass, from the depths dei franti sepolcreti of shattered tombs odorosi di timo, scented with thyme, la notte escon bisbigli the night exudes whispers di minuscoli amori of tiny loves e perfidi consigli and false counsels che ammolliscono i cuori. that seduce the heart. Fiorite, o campi immensi, Blossom, O wide fields, palpitate aure marine nel lunare albor, sea winds throb in the moon’s radiance, ah… piovete voluttà, volte stellate! ah… rain down desire, you vaulted stars! Arde in Tosca un folle amor! Tosca burns with a mad love!

She rests her head on his shoulder.

Cavaradossi Ah!… M’avvinci ne’ tuoi lacci Ah!… 1 am caught in your snares mia sirena, my siren,

Tosca Arde a Tosca nel sangue il folle amor! Tosca’s blood boils with a mad love!

Cavaradossi mia sirena, verrò! my siren, I will come! Or lasciami al lavoro. But now let me work.

Tosca Mi discacci? You dismiss me?

Cavaradossi Urge l’opra, lo sai! My work is pressing, you know that!

Tosca Vado! I am going!

She steps away, then turning to look at him, she sees the painting and becomes agitated. Chi è quella donna bionda lassù? Who is that blonde woman there?

Cavaradossi La Maddalena. Ti piace? Mary Magdalene. Do you like her?

Tosca È troppo bella! She is too beautiful!

Cavaradossi Prezioso elogio! Rare praise!

Tosca Ridi? You laugh?

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Quegli occhi cilestrini già li vidi… I have seen those sky-blue eyes before…

Cavaradossi Ce n’è tanti pel mondo!… There are so many in the world!…

Tosca Aspetta… Aspetta… Wait… Wait…

She jumps up onto the platform in triumph. È l’Attavanti!… It’s Attavanti!…

Cavaradossi Brava!… Brava!…

Tosca La vedi? T’ama? Are you seeing her? Does she love you? Tu l’ami? Do you love her?

She cries, and Cavaradossi tries to calm her.

Cavaradossi Fu puro caso… By pure chance…

Tosca Quei passi e quel bisbiglio… Those steps and whispers… Ah!… Qui stava pur ora!… Ah!… She was here just now!…

Cavaradossi Vien via! Come away!

Tosca Ah, la civetta! Ah, the shameless flirt! A me! To me!

Cavaradossi La vidi ieri, ma fu puro caso… I saw her yesterday, but by pure chance… A pregar qui venne… She came here to pray… non visto la ritrassi… unnoticed I painted her…

Tosca Giura! Swear!

Cavaradossi Giuro! I swear!

Tosca Come mi guarda fiso! How intently she stares at me!

They climb down, Cavardossi holding her hands high.

Cavaradossi Vien via! Come away!

Tosca Di me, beffarda, ride. She talks to me, mocking, laughing.

Cavaradossi Follia! Foolishness!

Tosca Ah, quegli occhi!… Ah, those eyes!…

Cavaradossi Qual’ occhio al mondo What eyes in the world può star di paro can compare all’ardente occhio tuo nero?… with your burning black ones?… È qui che l’esser mio s’affisa intero… It is they that hold my whole being… occhio all’amor soave, all’ira fiero… eyes soft with love, proud with anger… qual altro al mondo può star di paro what others in the world can compare all’occhio tuo nero?… with your black eyes?…

Tosca Oh, come la sai bene Oh, how well you know l’arte di farti amare! the art of making me love you! Ma… falle gli occhi neri!… But… let her eyes be black!…

Cavaradossi Mia gelosa! My jealous one!

Tosca Sì, lo sento… ti tormento Yes, I feel it… I torment you senza posa. without rest.

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Cavaradossi Mia gelosa! My jealous one!

Tosca Certa sono del perdono, I know you would forgive me, se tu guardi al mio dolor! if you knew my grief!

Cavaradossi Mia Tosca idolatrata, My idol Tosca, ogni cosa in te mi piace; all things in you delight me; l’ira audace your storming anger e lo spasimo d’amor! and your pulsing love!

Tosca Dilla ancora Say again la parola che consola… those consoling words… dilla ancora! say them again!

Cavaradossi Mia vita, amante inquieta, My life, my troubled love, dirò sempre: «Floria, t’amo!» I shall always say: “I love you, Floria!” Ah! l’alma acquieta, Ah! set your soul at rest, sempre «t’amo!» ti dirò! I shall always tell you “I love you!”

Tosca moves away in case she is won over completely.

Tosca Dio! quante peccata! Heavens! what a sin! M’hai tutta spettinata! You have undone my hair!

Cavaradossi Or va, lasciami! Now go, leave me!

Tosca Tu fino a stassera You stay at your work stai fermo al lavoro. E mi prometti: until this evening. And promise me: sia caso o fortuna, whether by chance or fortune, sia treccia bionda o bruna, whether blonde or dark, a pregar non verrà… donna nessuna! no woman shall come here to pray!

Cavaradossi Lo giuro, amore!… Va! I swear it, beloved!… Go!

Tosca Quanto m’affretti! How you hurry me!

Cavaradossi Ancora? Again?

Tosca No—perdona!… No—forgive me!…

Cavaradossi Davanti alla Madonna? Before the Madonna?

Tosca È tanto buona! She is so good!

They kiss, but as she heads for the exit, she turns. Ma falle gli occhi neri!… But let her eyes be black!… SCENE SIX

Tosca leaves quickly. Cavaradossi remains, thoughtful, and opens the gate for Angelotti, who has heard everything.

Cavaradossi È buona la mia Tosca, ma credente She is good my Tosca, but trusting al confessor nulla tiene celato, her confessor she hides nothing, ond’io mi tacqui. È cosa più prudente. so I must say nothing. It is wiser so.

Angelotti Siam soli? Are we alone?

Cavaradossi Sì. Qual’è il vostro disegno?… Yes. What is your plan?…

Angelotti A norma degli eventi, uscir di Stato As things stand now, to flee the State o star celato in Roma… Mia sorella… or stay in hiding in Rome… My sister…

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Cavaradossi L’Attavanti? Attavanti?

Angelotti Sì,… ascose un muliebre Yes,… she hid some women’s abbigliamento là sotto l’altare… garments there under the altar… vesti, velo, ventaglio… clothes, a veil, a fan… Appena imbruni indosserò quei panni… When it gets dark I’ll put them on…

Cavaradossi Or comprendo! Now I understand! Quel fare circospetto That prudent behaviour e il pregante fervore and that fervent prayer in giovin donna e bella in so young and beautitul a woman m’avean messo in sospetto had made me suspect di qualche occulto amor!… some secret love!… Or comprendo! Now I understand! Era amor di sorella! It was the love of a sister!

Angelotti Tutto ella ha osato She has dared all onde sottrarmi a Scarpia, scellerato! to get me away from Scarpia, the villain!

Cavaradossi Scarpia?! Bigotto satiro che affina Scarpia?! That bigoted satyr who refines colle devote pratiche through devout practice la foia libertina his libertine lust e strumento al lascivo talento and makes the confessor and the hangman fa il confessore e il boia! instruments of his wantonness! La vita mi costasse, vi salverò! Should it cost my life, I’ll save you! Ma indugiar fino a notte è mal sicuro… But delaying until nightfall is not safe…

Angelotti Temo del sole!… I fear the sunlight!…

Cavaradossi La cappella mette The chapel gives onto a un orto mal chiuso, poi c’è un canneto an open garden, then there is a canefield che va lungi pei campi a una mia villa… that goes far through fields to my villa…

Angelotti M’è nota… I know it…

Cavaradossi Ecco la chiave… innanzi sera Here is the key… before evening io vi raggiungo, portate I shall join you there, take con voi le vesti femminili… the woman’s costume with you…

Angelotti takes the clothes from under the altar.

Angelotti Ch’io le indossi? Should I put them on?

Cavaradossi Per or non monta, il sentiero è deserto… For now no need, the path’s deserted…

Angelotti Addio! Goodbye!

Cavaradossi runs towards him.

Cavaradossi Se urgesse il periglio, correte If there’s sign of danger, go to the al pozzo del giardin. L’acqua è nel fondo, garden well. There’s water at the bottom, ma a mezzo della canna, un picciol varco but half-way down, a little passage guida ad un antro oscuro, leads to a dark room, rifugio impenetrabile e sicuro! a safe and impenetrable hiding place!

There is the sound of a cannon being fired, and the two men look at each other, alarmed.

Angelotti Il cannon del castello!… The castle cannon!…

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Cavaradossi Fu scoperta la fuga! They’ve discovered your escape! Or Scarpia i suoi sbirri sguinzaglia! Now Scarpia lets loose his pack of spies!

Angelotti Addio! Goodbye!

Cavaradossi Con voi verrò. I will go with you. Staremo all’erta! We must be on our guard!

Angelotti Odo qualcun! I hear someone!

Cavaradossi Se ci assalgon, battaglia! If we’re attacked, we fight!

They leave quickly through the Chapel. SCENE SEVEN

The Sacristan runs in, shouting.

Sagrestano Sommo giubilo, Eccellenza!… Joyful news, Excellency!…

He looks towards the platform, and is surprised again not to find Cavaradossi. Non c’è più! Ne son dolente!… He’s gone! I am sorry!… Chi contrista un miscredente He who aggrieves an unbeliever si guadagna un’indulgenza! earns an indulgence!

The priests, pupils and singers of the Chapel rush in from every direction. Tutta qui la cantoria! The whole choir is here! Presto!… Hurry!…

As the final pupils arrive, they all gather together.

Chorus Dove? Where?

Sagrestano In sagrestia… In the sacristy…

Chorus Ma che avvenne? But what’s happened?

Sagrestano Nol sapete? You haven’t heard? Bonaparte… scellerato… Bonaparte… the scoundrel… Bonaparte… Bonaparte…

Chorus Ebben? Che fu? Well? What has happened?

Sagrestano Fu spennato, sfracellato He was plucked, smashed e piombato a Belzebù! and descended to Beelzebub!

Chorus Chi lo dice? È sogno! È fola! Who says so? It’s a dream! It’s nonsense!

Sagrestano È veridica parola Its a true report or ne giunse la notizia! the news just reached us.

Chorus Si festeggi la vittoria! Let’s celebrate the victory!

Sagrestano E questa sera And tonight gran fiaccolata, a mighty torch procession, veglia di gala a Palazzo Farnese, a gala evening at Farnese Palace, ed un’apposita nuova cantata and a fitting new cantata con Floria Tosca!… with Floria Tosca!… E nelle chiese And in the churches inni al Signor! hymns to the Lord!

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Or via a vestirvi, Now get along and dress, non più clamor! no more shouting! Via… via… in sagrestia! Go… go… into the sacristy!

Chorus Doppio soldo… Te Deum… Gloria! Double pay … Te Deum… Gloria! Viva il Re!… Long live the King!… Si festeggi la vittoria! Let’s celebrate the victory! SCENE EIGHT

When their festivities are at their height, Scarpia’s voice cuts through the uproar. He is accompanied by Spoletta and several policemen.

Scarpia Un tal baccano in chiesa! Bel rispetto! Such a hubbub in church! A fine respect!

Sagrestano Eccellenza, il gran giubilo… Excellency, the joyous news…

Scarpia Apprestate per il Te Deum. Prepare for the Te Deum.

They all depart. Even the Sacristan tries to slip out, but Scarpia stops him. Tu resta! You stay here!

Sagrestano Non mi muovo! I’m not moving!

Scarpia to Spoletta E tu va, fruga ogni angolo, And you go, search every corner, raccogli ogni traccia gather every clue.

Spoletta Sta bene! Very well!

Scarpia to the other policemen Occhio alle porte, Keep watch at the doors, senza dar sospetti! without arousing suspicion!

to the Sacristan Ora a te! Pesa le tue risposte. Now for you! Weigh your answers well. Un prigionier di stato A prisoner of state fuggì pur ora da Castel Sant’Angelo… has just escaped from Castel Sant’Angelo… s’è rifugiato qui… he took refuge here…

Sagrestano Misericordia! Heaven help us!

Scarpia Forse c’è ancora. He may still be here. Dov’è la Cappella degli Attavanti? Where is the Chapel of the Attavanti?

Sagrestano Eccola. That is it there. Aperta! Arcangeli! It’s open! Archangels! E un’altra chiave! And there’s another key!

Scarpia Buon indizio… Entriamo. A good sign… Let’s go in.

They enter the Chapel and then return. Scarpia holds a fan, which he shakes nervously. Fu grave sbaglio It was a bad mistake quel colpo di cannone! Il mariolo that cannon shot! The scoundrel spiccato ha il volo, ma lasciò una preda… has flown, but left behind a clue… preziosa… un ventaglio. a valuable one… a fan. Qual complice il misfatto preparò! What accomplice arranged this misdeed!

Examining the fan, he suddenly sees the coat of arms.

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La marchesa Attavanti!… The Marchesa Attavanti!… Il suo stemma… Her crest…

He looks around the church, and recognises the familiar features of the Marchesa in the face of Mary Magdalene.

Il suo ritratto! Her portrait!

to the Sacristan Chi fe’ quelle pitture? Who painted that picture?

Sagrestano Il cavalier Cavaradossi… The cavalier Cavaradossi…

Scarpia Lui! Him!

A policemen returns from the Chapel with the basket.

Sagrestano Numi! Il paniere! Heavens! The basket!

Scarpia Lui! L’amante di Tosca! Him! Tosca’s lover! Un uom sospetto! A suspect character! Un volterrian! A revolutionary!

Sagrestano Vuoto?… Vuoto!… Empty?… Empty!…

Scarpia Che hai detto? What did you say? Che fu?… What’s happened?…

Sagrestano Si ritrovò nella cappella They found this basket questo panier. in the chapel.

Scarpia Tu lo conosci?… Have you seen it before?…

Sagrestano Certo! È il cesto del pittor… Yes! It’s the painter’s basket… ma… nondimeno… but… even so…

Scarpia Sputa quello che sai. Spit out what you know.

Sagrestano Io lo lasciai ripieno I left it for him filled di cibo prelibato… with delicious food… il pranzo del pittor!… the painter’s meal!…

Scarpia Avrà pranzato! He must have eaten!

Sagrestano Nella cappella? In the chapel? Non ne avea la chiave He had no key nè contava pranzar… nor did he want to eat… disse egli stesso. he said so himself. Ond’io l’avea già messo… al riparo. So I put the basket… somewhere safe. (Libera me Domine!) (Deliver me Lord!)

Scarpia (Or tutto è chiaro… (Now all is clear… la provvista del sacrista the sacristan’s food d’Angelotti fu la preda!) became Angelotti’s prize!)

He sees Tosca entering in a hurry. Tosca? Che non mi veda. Tosca? She must not see me.

He hides behind a column.

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(Per ridurre un geloso allo sbaraglio (To drive a jealous lover to distraction Jago ebbe un fazzoletto… Iago had a handkerchief… ed io un ventaglio!…) and I a fan!…) SCENE NINE

Tosca runs towards the platform to find Cavaradossi, and is surprised not to see him there.

Tosca Mario?! Mario?! Mario?! Mario?!

Sagrestano Il pittor Cavaradossi? The painter Cavaradossi? Chi sa dove sia? Who knows where he is? Svanì, sgattaiolò He’s vanished, evaporated per sua stregoneria. by his own wizardry.

Tosca Ingannata? No… Deceived? No… tradirmi egli non può! he could not betray me!

Scarpia steps out and approaches the astonished Tosca. He dips his hand in the Holy Water and offers it to her as, outside, bells summon the faithful.

Scarpia Tosca la mano mia Tosca my hand la vostra aspetta, piccola manina, awaits yours, your delicate hand, non per galanteria, not out of gallantry, ma per offrirvi l’acqua benedetta… but to offer holy water…

Tosca touches Scarpia’s hand and crosses herself.

Tosca Grazie, signor! Thank you, sir!

Slowly the nave fills with people of all kinds.

Scarpia Un nobile esempio è il vostro. A noble example is yours. Al cielo piena di santo zelo Full to the heavens with holy zeal attingete dell’arte il magistero you show a mastery of art che la fede ravviva! that restore one’s faith!

Tosca distraught and preoccupied Bontà vostra… You are too kind…

Scarpia Le pie donne son rare… Pious women are so rare… Voi calcate la scena… You are on the stage… E in chiesa ci venite per pregar. Yet you come to church to pray.

Tosca Che intendete?… What do you mean?…

Scarpia E non fate come certe And you don’t behave like some sfrontate impudent women

pointing to the portrait che han di Maddalena who have Mary Magdalene’s viso e costumi… face and clothes… e vi trescan d’amore! and come plotting love!

Tosca reacts immediately, and Scarpia shows her the fan.

Tosca Che? D’amore? Le prove! What? Love? Your proof!

Scarpia È arnese da pittore questo? Is this a painter’s tool?

Tosca Un ventaglio? Dove stava? A fan? Where was it?

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Scarpia Là su quei palco. Qualcun venne There on that platform. Someone came certo a sturbar gli amanti surely and disturbed the lovers ed essa nel fuggir perdè le penne!… and in her flight she lost her feathers!…

Tosca La corona! Lo stemma! È l’Attavanti! The crown! The crest! It’s Attavanti’s! Presago sospetto!… Prophetic doubt!…

Scarpia (Ho sortito l’effetto!) (I’ve hit the mark!)

Tosca Ed io venivo a lui tutta dogliosa And I came here to him doleful per dirgli: invan stassera to tell him: in vain tonight il ciel s’infosca… the sky will darken… l’innamorata Tosca the lovesick Tosca è prigioniera… dei regali tripudi! is a prisoner… of the royal celebrations!

Scarpia (Già il veleno l’ha rosa!) (Already the venom has reddened her!) O che v’offende, dolce signora?… Oh what troubles you, sweet lady?… Una ribelle lacrima scende sovra A wayward tear runs down le belle guancie e le irrora; your fair cheek and moistens it; dolce signora, che mai v’accora? sweet lady, whatever grieves you?

Tosca Nulla! Nothing!

Scarpia Darei la vita I would give my life per asciugar quel pianto. to wipe away those tears.

Tosca Io qui mi struggo e intanto Here I pine while he d’altra in braccio le mie smanie deride! in another’s arms mocks at my anguish!

Scarpia (Morde il veleno.) (The poison bites.)

Tosca Dove son? Potessi Where are they? Could I coglierli i traditori. but catch the traitors. Oh qual sospetto! Oh what suspicion! Ai doppi amori è la villa ricetto! The two loves have fled to the villa! Traditor! Traitor! Oh mio bel nido insozzato di fango! Oh my fair nest sullied with mud! Vi piomberò inattesa! I’ll descend on them unexpected! Tu non l’avrai stasera. Giuro! You will not have him tonight. I swear it!

Scarpia In chiesa! In church!

Tosca Dio mi perdona… Egli vede ch’io piango! God pardons me… He sees me weeping!

Tosca leaves in distress with Scarpia pretending to comfort her. As she leaves, he returns and signals to Spoletta, who emerges.

Scarpia Tre sbirri… Una carrozza… Three men… A carriage … Presto… seguila Quick… follow dovunque vada… non visto… provvedi! wherever she goes… unseen… take care!

Spoletta Sta bene. Il convegno? Yes sir. Where do we meet?

Scarpia Palazzo Farnese! Farnese Palace!

Spoletta hurries out with three policemen. Va, Tosca! Go, Tosca! Nel tuo cuor s’annida Scarpia!… In your heart Scarpia builds a nest!… È Scarpia che scioglie a volo It is Scarpia who lets fly

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il falco della tua gelosia. the falcon of your jealousy. Quanta promessa nel tuo pronto sospetto! Such assurance in your quick suspicions!

Scarpia kneels and prays as the Cardinal passes.

Chorus Adjutorum nostrum in nomine Domini Our help is in the name of the Lord Qui fecit cœlum et terram Who made heaven and earth Sit nomen Domini benedictum Blessed be the name of the Lord Et hoc nunc et usque in saeculum. Both now and forever.

Scarpia A doppia mira A double target tendo il voler, nè il capo del ribelle is now in my sights, nor is the rebel’s head è la più preziosa. Ah di quegli the bigger prize. Ah in those occhi vittoriosi veder la fiamma imperious eyes to see the flame illanguidir con spasimo d’amor. grow languid with spasms of love. L’uno al capestro, One for the rope, l’altra fra le mie braccia… the other for my arms…

Chorus Te Deum laudamus: O God we praise Thee: te Dominum confitemur! we acknowledge Thee to be the Lord.

At the chant from the back of the church Scarpia starts, as though from a dream. Gathering himself, he makes the sign of the cross, then kneels and prays devoutly.

Scarpia Tosca, mi fai dimenticare Iddio! Tosca, you make me forget God himself!

Tutti Te æternum Patrem Everlasting Father omnis terra veneratur! all the earth worships Thee!

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ACT TWO

Scarpia’s apartment on an upper floor of the Farnese Palace, at night. There is a table set for supper. A wide window opens on the palace courtyard. Scarpia is at the table eating supper, stopping occasionally to reflect. He is cross and preoccupied. SCENE ONE

Scarpia Tosca è un buon falco!… Tosca is a good falcon!… Certo a quest’ora Surely by this time i miei segugi le due prede azzannano! my hounds have caught their double prey! Doman sul palco Tomorrow on the scaffold vedrà l’aurora the dawn will see Angelotti e il bel Mario Angelotti and the fine Mario al laccio pendere. hanging from a noose.

He rings a bell and Sciarrone enters. Tosca è a palazzo?… Is Tosca in the palace?…

Sciarrone Un ciambellan ne uscia A chamberlain has gone pur ora in traccia… just now to find her…

Scarpia pointing to the window Apri. Tarda è la notte… Open it. The night is late…

An orchestra is heard from below, where the Queen of Naples is giving a party in honour of Melas. Alla cantata ancor manca la Diva, The Diva is still missing from the cantata, e strimpellan gavotte. and they strum gavottes. Tu attenderai la Tosca in sull’entrata; You will wait for Tosca at the entrance: le dirai ch’io l’aspetto tell her that I will expect her finita la cantata… at the end of the concert… o meglio… or better…

He writes a note. le darai questo biglietto. give her this note.

Sciarrone leaves. Scarpia returns to the table. Ella verrà… per amor del suo Mario! She will come… for love of her Mario! Per amor del suo Mario… al piacer mio For love of her Mario… to my pleasure s’arrenderà. Tal dei profondi amori she will yield. From such profound love è la profonda miseria. Ha più forte comes profound misery. There’s a stronger sapore la conquista violenta flavour to violent conquest che il mellifluo consenso. Io di sospiri than to soft surrender. For sighs e di lattiginose albe lunari and for milky moonrises poco m’appago. I don’t much care. Non so trarre accordi di I don’t know how to draw harmony from chitarra, nè oròscopo di fior guitars, nor horoscopes from flowers né far l’occhio di pesce, nor how to look wide-eyed, o tubar come tortora! or to coo like a turtle dove! Bramo. La cosa bramata perseguo, I crave. I pursue the craved thing, me ne sazio e via la getto… sate myself and cast it by… volto a nuova esca. Dio creò diverse seek new bait. God made diverse beltà e vini diversi… Io vo’ beauties and diverse wines… I mean to

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gustar quanto più posso taste as many as possible dell’opra divina! of these divine works.

He drinks. Sciarrone returns.

Sciarrone Spoletta è giunto. Spoletta’s arrived.

Scarpia Entri. In buon punto! Show him in. In good time!

Sciarrone leaves to fetch Spoletta. SCENE TWO

Spoletta enters, and Scarpia questions him without looking up.

Scarpia O galantuomo, com’andò la caccia?… My fine man, how did the hunt go?…

Spoletta (Sant’Ignazio m’aiuta!) (Saint Ignatius help me!) Della signora seguimmo la traccia. We kept on the lady’s trail. Giunti a un’erma villetta She came to a lonely villa tra le fratte perduta… lost in the woods… ella v’entrò. N’escì sola ben presto. she entered. She quickly came out alone. Allor scavalco lesto At once I vaulted over il muro del giardin coi miei cagnotti the garden wall with my dogs e piombo in casa… and burst into the house…

Scarpia Quel bravo Spoletta! Bravo Spoletta!

Spoletta hesitates.

Spoletta Fiuto!… razzolo!… I sniffed!… I scratched!… frugo!… I rummaged!…

Scarpia senses his hesitancy, and jumps up pale with rage.

Scarpia Ahi! l’Angelotti?… Ahi! Angelotti?…

Spoletta Non s’è trovato! Not to be found!

Scarpia Ah cane! Ah traditore! Ah dog! Ah traitor! Ceffo di basilisco, Snout of a snake, alle forche! to the gallows!

Spoletta Gesù! Jesus!

trying to appease him C’era il pittor… The painter was there…

Scarpia Cavaradossi? Cavaradossi?

Spoletta Ei sa dove l’altro s’asconde… And he knows where the other is hiding… Ogni suo gesto In every gesture ogni accento, tradìa every word, he showed tal beffarda ironia, such taunting irony, ch’io lo trassi in arresto!… that I placed him under arrest!…

Scarpia Meno male! Not so bad!

Spoletta Egli è là. He is there.

Scarpia paces, pondering. As he hears the choral cantata from the Queen’s apartment, he stops.

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Tosca, choir Sale, ascende l’uman cantico Mankind’s song leaps, soars varca spazi, varca cieli, across space, across the heavens, per ignoti soli empirei, past unknown fiery stars, profetati dai Vangeli, prophesied by the Gospels, a te giunge o re dei re, it comes to you O King of Kings, Questo canto voli a te. This song flies to you. A te quest’inno di gloria voli To you this hymn of glorious flights sommo Iddio della vittoria. almighty God of victory. Dio che fosti innanzi ai secoli, God who was before the centuries, alle cantiche degli angeli with the canticles of the angels quest’inno di gloria, this hymn of glory, Or voli a te! Now rises to you! Sale, ascende l’uman cantico Mankind’s song leaps, soars varca spazi, varca cèli, across space, across the heavens, a te giunge o re dei re! it comes to you O King of Kings!

Scarpia Introducete il Cavaliere. Bring in the Cavalier. A me Roberti e il Giudice del Fisco. Fetch me Roberti and the Judge.

Exit Sciarrone. SCENE THREE

Scarpia sits down again. Spoletta and four bailiffs bring in Cavaradossi; then Roberti, the executioner, the Judge and Sciarrone enter.

Cavaradossi Tal violenza!… Such violence!…

Scarpia Cavalier, vi piaccia accomodarvi… Cavalier, please be seated…

Cavaradossi Vo’ saper… I want to know…

Scarpia Sedete… Be seated…

Cavaradossi Aspetto. I’ll stand.

Scarpia E sia! As you wish! V’è noto che un prigione… Are you aware that a prisoner…

Tosca’s voice is heard through the window.

Cavaradossi La sua voce!… Her voice!…

Scarpia … v’è noto che un prigione … you are aware that a prisoner oggi è fuggito da Castel Sant’Angelo? escaped today from Sant’Angelo Castle?

Cavaradossi Ignoro. I didn’t know.

Scarpia Eppur si pretende Howvere it is reported che voi l’abbiate accolto in Sant’Andrea, that you sheltered him in Sant’Andrea, provvisto di cibo e di vesti… gave him food and clothing…

Cavaradossi Menzogna! Lies!

Scarpia … e guidato … and took him ad un vostro podere suburbano… to a suburban place of yours…

Cavaradossi Nego. Le prove? I deny it. Your proof?

Scarpia Un suddito fedele… A faithful servant…

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Cavaradossi Al fatto. Chi m’accusa? To the facts. Who is my accuser? I vostri birri invan frugar la villa. In vain your spies ransacked my villa.

Scarpia Segno che è ben celato. Proof that he is hidden well.

Cavaradossi Sospetti di spia! Suspicions of a spy!

Spoletta Alle nostre ricerche egli rideva… He laughed at our questions…

Cavaradossi E rido ancor. And I laugh still.

Scarpia Questo è luogo di lacrime! This is a place for tears! Badate! Beware! Or basta! Rispondete! Enough now! Answer me!

Scarpia rises angrily and closes the window to shut out the singing. Ov’è Angelotti? Where is Angelotti?

Cavaradossi Non lo so. I don’t know.

Scarpia Negate avergli dato cibo? You deny you gave him food?

Cavaradossi Nego! I deny it!

Scarpia E vesti? And clothes?

Cavaradossi Nego! I deny it!

Scarpia E asilo nella villa? And refuge in your villa? E che là sia nascosto? And that he is hidden there?

Cavaradossi Nego! I deny it!

Scarpia Via, Cavaliere, riflettete: Come, Cavalier, you must reflect: saggia non è cotesta ostinatezza vostra. this stubborness of yours is not wise. Angoscia grande, pronta confessione eviterà! A prompt confession will save great pain! Io vi consiglio, dite: I advise you, tell me: dov’è dunque Angelotti? where then is Angelotti?

Cavaradossi Non lo so. I don’t know.

Scarpia Ancor, Again, l’ultima volta: Dov’è? for the last time: Where is he?

Cavaradossi Nol so! I don’t know.

Spoletta (O bei tratti di corda!) (Oh for a good whipping!) SCENE FOUR

Tosca enters, out of breath.

Scarpia (Eccola!) (Here she is!)

Tosca Mario, tu qui?! Mario, you, here?!

Cavaradossi (Di quanto là vedesti, (Of what you saw there, taci, o m’uccidi!) say nothing, or you will kill me!)

Tosca nods.

Scarpia Mario Cavaradossi, Mario Cavaradossi, qual testimone il Giudice v’aspetta. the Judge awaits your testimony.

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to Roberti Pria le forme ordinarie… First the usual formalities… Indi… ai miei cenni… And then … as I shall order…

Sciarrone opens the door and leads everyone to the torture chamber, leaving just Tosca and Scarpia alone together.

Scarpia Ed or fra noi parliam da buoni amici. And now let’s talk like good friends. Via quell’aria sgomentata… Come now don’t look so frightened…

He indicates to Tosca to sit down.

Tosca Sgomento alcun non ho… I have no fears…

Scarpia La storia del ventaglio? What about the fan?

He passes behind the couch where Tosca sits and leans upon it, adopting an air of gallantry.

Tosca Fu sciocca gelosia… That was foolish jealousy…

Scarpia L’Attavanti non era dunque alla villa? So the Attavanti was not at the villa?

Tosca No: egli era solo. No: he was alone.

Scarpia Solo? Alone? Ne siete ben sicura? Are you quite sure?

Tosca Nulla sfugge ai gelosi. Nothing escapes a jealous eye. Solo! Alone!

He sits on a chair in front of Tosca and studies her face.

Scarpia Davver?! Indeed?!

Tosca Solo! sì! Alone! yes!

Scarpia Quanto fuoco! How you protest! Par che abbiate paura di tradirvi. Perhaps you fear you may betray yourself. Sciarrone: che dice il Cavalier? Sciarrone: what does the Cavalier say?

Sciarrone Nega. He denies everything.

Scarpia Insistiamo. We shall insist.

Sciarrone leaves, closing the door. Tosca laughs.

Tosca Oh! è inutil! Oh! it’s useless!

Scarpia Lo vedremo, signora. We shall see, Madam.

Tosca Dunque per compiacervi, si dovrebbe mentir? It seems that to please you, one must lie?

Scarpia No: ma il vero potrebbe abbreviargli No: but the truth might shorten un’ora assai penosa… an extremely painful hour for him…

Tosca Un’ora penosa? Che vuol dir? A painful hour? What do you mean? Che avviene in quella stanza? What are you doing in that room?

Scarpia È forza che s’adempia la legge. It is force that carries out the law.

Tosca Oh! Dio!… che avvien?!! Oh! God!… what’s happening?!!

Scarpia Legato mani e piè Bound hand and foot il vostro amante ha un cerchio uncinato your lover has a ring of hooked iron alle tempia, at his temples,

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che ad ogni niego ne sprizza sangue that at every denial make his blood spurt senza mercè! without mercy!

Tosca jumps up.

Tosca Non è ver! It isn’t true! Sogghigno di demone… Leering demon…

Cavaradossi lets out a long groan.

Tosca Un gemito? Pietà! A groan? Pity!

Scarpia Sta in voi salvarlo. It is up to you to save him.

Tosca Ebben… ma cesate! Very well… but stop this!

Scarpia Sciarrone, sciogliete! Stop it, Sciarrone!

Sciarrone Tutto? Everything?

Scarpia Tutto. Everything.

Sciarrone returns to the chamber. Ed or la verità… And now the truth…

Tosca Ch’io lo veda! Let me see him!

Scarpia No! No!

Tosca gets near to the door.

Tosca Mario! Mario!

Cavaradossi Tosca! Tosca!

Tosca Ti straziano ancora? Are they still torturing you?

Cavaradossi No—coraggio—Taci!— No—courage—Be silent!— Sprezzo il dolor! I scorn the pain!

Scarpia Orsù, Tosca, parlate. Come now, Tosca, speak.

Tosca Non so nulla! I know nothing!

Scarpia Non vale quella prova? Wasn’t that enough for you? Roberti, ripigliamo… Roberti, start again…

Tosca throws herself between Roberti and the door.

Tosca No! fermate! No! stop!

Scarpia Voi parlerete? Will you speak?

Tosca No! Ah! mostro! lo strazi, No! Ah! monster! you’re hurting him, ah! l’uccidi! ah! you’re killing him!

Scarpia Lo strazia quel vostro silenzio assai più! You hurt him even more by your silence!

Tosca Tu ridi… You laugh… all’orrida pena? at this ghastly torment?

Scarpia Mai Tosca alla scena Tosca on the stage più tragica fu! was never more tragic!

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Aprite le porte Open the door che n’oda i lamenti! so she can hear his suffering!

Spoletta opens the door and stands in the doorway.

Cavaradossi Vi sfido! I defy you!

Scarpia Più forte! Harder!

Cavaradossi Vi sfido! I defy you!

Scarpia to Tosca Parlate… Speak now…

Tosca Che dire? What can I say?

Scarpia Su, via! Come, now!

Tosca Ah! non so nulla! Ah! I know nothing! dovrei mentir? must I lie?

Scarpia Dite dov’è Angelotti? parlate Tell me where is Angelotti? speak up su, via, dove celato sta? now, come, where’s he hiding?

Tosca No! Ah! Più non posso! No! Ah! I can stand no more! Ah! che orror! Ah! what horror! Ah! cessate il martir! Ah! stop this torture! è troppo soffrir! it’s too much to bear!

Cavaradossi Ahimè! Ah!

Tosca appeals to Scarpia, who signals to Spoletta to let her come to the open door where she is overwhelmed by the terrible scene within. She cries out in anguish.

Tosca Mario, consenti ch’io parli? Mario, will you let me speak?

Cavaradossi No! No!

Tosca Ascolta, non posso più… Listen, I can bear no more…

Cavaradossi Stolta, che sai?… Fool, what do you know?… che puoi dir?… what can you say?…

Scarpia to Spoletta Ma fatelo tacere! Shut him up!

Tosca is overcome and falls, prostrate on the sofa. Sobbing,, she appeals to Scarpia, who stands impassive. Spoletta, meanwhile, prays under his breath.

Tosca Che v’ho fatto in vita mia?! What have I done to you in my life?! Son io che così torturate!… It is I you torture so!… Torturate l’anima… You torture my spirit… sì, l’anima mi torturate! yes, my spirit you are torturing!

Spoletta Judex ergo cum sedebit When the Judge takes his place Quidquid latet apparebit What is hidden will be revealed Nil inultum remanebit! Nothing will remain unavenged!

Scarpia orders the resumption of the torment. There is a piercing cry. Tosca leaps up and speaks quickly.

Tosca Nel pozzo… nel giardino… In the well… in the garden …

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Scarpia Là è Angelotti?… Angelotti is there?…

Tosca Sì! Yes!

Scarpia Basta, Roberti. Enough, Roberti.

Sciarrone re-opens the door.

Sciarrone È svenuto! He has fainted!

Tosca Assassino! Murderer! Voglio vederlo… I want to see him…

Scarpia Portatelo qui!… Bring him here!…

Sciarrone returns followed by Cavaradossi, who is carried and laid on the sofa. Tosca runs up, but on seeing her lover spattered with blood, she covers her face in horror. Then, ashamed of her weakness, she kneels beside him, kissing him and weeping.

Sciarrone, Roberti and the Judge leave. Spoletta and the policemen remain. Cavaradossi regains consciousness.

Cavaradossi Floria! Floria!

Tosca Amore… Beloved…

Cavaradossi Sei tu? Is it you?

Tosca Quanto hai penalo How you have suffered anima mia!… Ma il giusto my soul!… But the just Iddio lo punirà! God will punish him!

Cavaradossi Tosca, ho parlato? Tosca, did I speak?

Tosca No, amor… No, beloved…

Cavaradossi Davvero?… Truly not?…

Tosca No! No!

Scarpia loudly, to Spoletta Nel pozzo In the well del giardino.—Va, Spoletta! in the garden.—Go, Spoletta!

Spoletta leaves. Cavaradossi has heard, and rises threateningly towards Tosca, but he is too weak and falls back on the sofa.

Cavaradossi M’hai tradito! You have betrayed me!

Tosca Mario! Mario!

He thrusts her away.

Cavaradossi Maledetta! Accursed woman!

Tosca Mario! Mario!

Sciarrone bursts in, breathless.

Sciarrone Eccellenza, quali nuove!… Excellency, such news!…

Scarpia Che vuol dir quell’aria afflitta? What is the meaning of this worried look?

Sciarrone Un messaggio di sconfitta… It is news of defeat…

Scarpia Che sconfitta? Come? Dove? What defeat? How? Where?

Sciarrone A Marengo… At Marengo…

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Scarpia Tartaruga! Tortoise!

Sciarrone Bonaparte è vincitor… Bonaparte has won…

Scarpia Melas… Melas…

Sciarrone No! Melas è in fuga!… No! Melas has fled!…

Having listend intently, Cavaradossi now finds the strength to rise. Tosca tries to calm him.

Cavaradossi Vittoria! Vittoria! Victory! Victory! L’alba vindice appar The avenging dawn now rises che fa gli empi tremar! to make the wicked tremble! Libertà sorge, Freedom rises, crollan tirranidi! the scourge of tyrants!

Tosca Mario, taci, pietà di me! Mario, be still, have pity on me!

Cavaradossi Del sofferto martir In my own suffering me vedrai qui gioir… you see me now rejoice… il tuo cor trema, your heart trembles, o Scarpia, carnefice! O Scarpia, hangman!

Tosca pietà! taci! non l’ascoltate! pity! quiet! don’t listen! Pietà! pietà di me! Pity! have pity on me!

Scarpia Braveggia, urla! T’affretta Boast, scream! Hurry a palesarmi il fondo to reveal the depths dell’alma ria! of your vile soul! Va! Moribondo, Go! For you die, il capestro t’aspetta! the hangman’s noose awaits you. Va, va! Go, go!

to the policemen Portatemelo via! Take him away!

As Cavaradossi is dragged away, Tosca tries to hold on to him, but is pushed aside.

Tosca Mario… con te… Mario… with you…

Scarpia Voi no! Not you!

The door closes. Scarpia and Tosca are alone. SCENE FIVE

Tosca Salvatelo! Save him!

Scarpia Io?… Voi! I? … You!

He goes to the table and sees his unfinished supper. Now he is calm and smiling. La povera mia cena fu interrotta. My poor supper was interrupted. Così accasciata?… Via, mia bella So downhearted?… Come, my fair signora, sedete qui. Volete che cerchiamo lady, sit here. Shall we try to find insieme il modo di salvarlo? together a way to save him?

Still smiling, he sits down and motions to her to do the same.. E allor… sedete… e favelliamo. And so… sit down… and we shall talk. E intanto un sorso. È vin di Spagna… And first a drink. It’s Spanish wine…

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Un sorso per rincorarvi. A sip to hearten you.

Tosca sits facing him, then staring at him, contemptuously asks:

Tosca Quanto? How much?

Scarpia Quanto? How much?

Tosca Il prezzo!… The price!…

Scarpia laughs.

Scarpia Già… Mi dicon venal, Yes… They say that I am venal, ma a donna bella non mi vendo but to beautiful women I don’t sell myself a prezzo di moneta… no! for a price in money… no! Se la giurata fede devo tradir… If I am to betray my oath of office… ne voglio altra mercede. I want another reward. Quest’ora io l’attendeva! I have waited for this hour! Già mi struggea Already I burned l’amor della diva! with passion for the Diva! Ma poc’anzi ti mirai But tonight I saw you qual non ti vidi mai! as I had never seen you before! Quel tuo pianto era lava Your tears were lava ai sensi miei e il tuo sguardo to my senses and your look che odio in me dardeggiava, of pure hatred towards me, mie brame inferociva!… fuelled my longing!… Agil qual leopardo Supple as a leopard t’avvinghiasti all’amante you entrapped your lover Ah! In quell’istante Ah! In that instant t’ho giurata mia!… I vowed you would be mine!… Mia! Mine!

Scarpia rises and stretches his arms towards Tosca, who has been listening motionless. She leaps up and hides behind the sofa.

Tosca Ah! Ah!

Scarpia Sì, t’avrò!… Yes, I will have you!…

Tosca Ah! Piuttosto giù mi avvento! Ah! I’ll throw myself out first!

Scarpia In pegno il Mario tuo mi resta!… I hold your Mario in my power!…

Tosca Ah! miserabile… Ah! wretch… l’orribil mercato! ghastly bargain!

The idea of appealing to the Queen suddenly occurs to Tosca, and she runs towards the door.

Scarpia Violenza non ti farò. Sei liberai. I’m not going to hurt you. You are free. Va pure. So go. Ma è fallace speranza:… la Regina But it’s a false hope:… the Queen farebbe grazia ad un cadavere! would merely grant pardon to a corpse!

Glaring at him, Tosca drops on the sofa. She looks at him with the utmost contempt. Come tu m’odii! How you detest me!

Tosca Ah! Dio!… Ah! God!…

Scarpia Così ti voglio! Even so I want you!

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Tosca Non toccarmi, demonio! Don’t touch me, demon! T’odio, t’odio, abbietto, vile! I hate you, hate you, fiend, villain!

Scarpia Che importa?! What does it matter?! Spasimi d’ira… spasimi d’amore! Spasms of wrath… spasms of passion!

Tosca Vile! Villain!

Scarpia Mia! You are mine!

Tosca Aiuto! Help!

The rolling of drums is heard, getting nearer and then farther.

Scarpia Odi? Do you hear? È il tamburo. S’avvia. Guida It is the drum. It’s happening. It leads la scorta ultima ai condannati. the last escort of the condemned. Il tempo passa! Time passes! Sai… quale oscura opra Do you know… what dark work laggiù si compia? is being done down there? Là… si drizza un patibolo!… There… they’re erecting a gallows!… Al tuo Mario, Your Mario, per tuo voler, non resta che un’ora di vita. by your wish, has but one hour to live.

Tosca Vissi d’arte, vissi d’amore, I lived for art, I lived for love, non feci mai male ad anima viva!… never did I harm a living creature!… Con man furtiva With a furtive hand quante miserie conobbi, aiutai… whatever misery I found, I helped… Sempre con fè sincera Always in true faith la mia preghiera my prayers ai santi tabernacoli salì. rose to the holy chapels. Sempre con fè sincera, Always in true faith, diedi fiori agli altar, I brought flowers to the altars, Nell’ora del dolore In this hour of sorrow perchè, perchè Signore, why, why Lord, perchè me ne rimuneri così? why do you repay me thus? Diedi gioielli I brought jewels della Madonna al manto, for the Madonna’s mantle, e diedi il canto agli astri, and sung songs to the stars, al ciel, che ne ridean più belli. to heaven, that they shine more brightly. Nell’ora del dolor In this hour of sorrow perchè, perchè Signore, why, why Lord, perchè me ne rimuneri così? why do you repay me thus?

She kneels before Scarpia.

Scarpia Risolvi! Decide!

Tosca Mi vuoi supplice ai tuoi piedi? Do you see me kneeling at your feet? Vedi, le man giunte io stendo a te! See, I extend my clasped hand to you! Ecco, vedi, Here, see, e mercè d’un tuo detto, at the mercy of your word, vinta, aspetto… vanquished, I beg…

Scarpia Sei troppo bella, Tosca, You are too beautiful, Tosca, e troppo amante, and too loving,

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Cedo. A misero prezzo I yield. At a paltry price tu, a me una vita, you, from me a life, io, a te chieggo un’istante! I, from you beg an instant!

Tosca rises, revolted.

Tosca Va! Va! Mi fai ribrezzo! Va! Va! Go! Go! You disgust me! Go! Go!

There is a knock at the door.

Scarpia Chi è là? Who’s there?

Spoletta enters, breathless.

Spoletta Eccellenza, l’Angelotti Excellency, Angelotti al nostro giungere s’uccise! killed himself when we arrived!

Scarpia Ebben lo si appenda morto Then have him hanged dead alle forche! E l’altro prigionier? from the gibbet! And the other prisoner?

Spoletta Il cavalier Cavaradossi? The cavalier Cavaradossi? È tutto pronto, Eccellenza! Everything is ready, Excellency!

Tosca (Dio m’assisti!) (God help me!)

Scarpia to Spoletta Aspetta. Wait.

to Tosca Ebbene? Well?

Tosca nods. Ashamed, she weeps and hides her face.

to Spoletta Odi… Listen…

Tosca interrupting Ma libero all’istante lo voglio! But I want him freed this instant!

Scarpia to Tosca Occorre simular. Non posso We must pretend. I cannot openly far grazia aperta. Bisogna che tutti pardon him. It’s necessary that everyone abbian per morto il cavalier. hears of the Cavalier’s death. Quest’uomo fido provvederà. This trusted man of mine will see to it.

Tosca Chi m’assicura? How can I be sure?

Scarpia L’ordin ch’io gli darò voi qui presente. By the orders I give him with you here. Spoletta: chiudi. Spoletta: close the door. Ho mutato d’avviso… I have changed my mind… Il prigionier sia fucilato. The prisoner shall be shot.

Tosca starts with terror. Attendi… Wait a moment…

He gives Spoletta a hard, significant look, and Spoletta nods in reply that he has understood his meaning. Come facemmo del conte Palmieri… As we did with Count Palmieri…

Spoletta Un’uccisione… An execution…

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Scarpia … simulata!… Come … a fake one!… As avvenne del Palmieri! happened with Palmieri! Hai ben compreso? Do you understand?

Spoletta Ho ben compreso. I understand.

Scarpia Va. Go.

Tosca Voglio avvertirlo io stessa. I want to warn to him myself.

Scarpia E sia. As you wish.

to Spoletta Le darai passo. Bada: Let her pass. Remember: all’ora quarta… at four o’clock.

Spoletta Sì. Come Palmieri… Yes. Like Palmieri…

Spoletta leaves, and as his footsteps fade, Scarpia’s demeanour changes, and he advances on Tosca flushed with passion.

Scarpia Io tenni la promessa… I have kept my promise…

Tosca Non ancora. Not yet. Voglio un salvacondotto onde fuggir I want a safe conduct so that I can flee dallo Stato con lui. the State with him.

Scarpia Partir dunque volete? So you want to leave?

Tosca Sì, per sempre! Yes, for ever!

Scarpia Si adempia il voler vostro. Your wish will be granted.

He goes to the desk and starts to write. E qual via scegliete? And which road do you choose?

Tosca goes to the table to take the glass of wine that Scarpia has poured: but as she lifts it, her eye falls on a pointed knife lying on the table. Seeing that Scarpia is absorbed in writing, and still answering his questions and watching him, she carefully reaches for it.

Tosca La più breve! The shortest!

Scarpia Civitavecchia? Civitavecchia?

Tosca Sì. Yes.

She manages to take the knife. Still watching, she hides it behind her as she leans on the table. He finishes making out the pass, puts his seal on it and folds it. He then opens his arms and again advances on Tosca.

Scarpia Tosca, finalmente mia!… Tosca, now you are mine at last!…

His cry of lust turns to one of pain as Tosca stabs him in the chest with the knife. Maledetta! Accursed one!

Tosca Questo è il bacio di Tosca! This is the kiss of Tosca!

Staggering, Scarpia still advances, his arm stretches towards her. Tosca avoids him, but becomes trapped between him and the table. As he reaches her, she pushes him back and he crashes to the floor, shrieking in a stifled voice.

Scarpia Aiuto! Muoio! Help! I am dying!

She watches him struggle, helplessly. Soccorso! Muoio! Help! I die!

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Tosca Ti soffoca il sangue? Is your blood choking you? Ah! E ucciso da una donna! Ah! And killed by a woman! M’hai assai torturata!… You tortured me enough!… Odi tu ancora? Parla!… Guardami!… Can you still hear? Talk!… Look at me!… Son Tosca!… o Scarpia! I am Tosca!… O Scarpia!

Scarpia collapses.

Scarpia Soccorso, aiuto! Help, help! Muoio! I die!

Tosca bends over him.

Tosca Muori dannato! Muori, muori! Die damned one! Die, die!

Scarpia remains motionless. È morto! Or gli perdono! He is dead! Now I pardon him! E avanti a lui tremava tutta Roma! And before him all Rome trembled!

With her eyes still fixed on Scarpia’s body, Tosca goes to the table and washes her fingers, then goes to the mirror to straighten her hair. With a shudder, she takes the pass from his clenched fist and hides it in her clothing. She puts the candle out, and is about to leave when her conscience gets the better of her. She relights the candle from the one on the desk, and places the two of them either side of Scarpia’s head. Then seeing a crucifix on the wall, she reverently takes it down and lays it on Scarpia’s chest, before finally creeping out of the doorway.

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ACT THREE

The top of Castel Sant’Angelo. There is a desk with a large registry book, a crucifix and a lamp, and a small stairway up to the ramparts. The night gradually lifts to the grey pre-dawn light, as church bells toll for matins. The voice of a passing shepherd is heard. SCENE ONE

Un pastore Io de’ sospiri, I give you sighs, Te ne rimanno tanti There are as many Pe’ quante foje As there are leaves Ne smoveno li venti. Moving in the wind. Tu me disprezzi You may scorn me Io me ciaccoro, My heart is sick, Lampene d’oro Lamp of gold Me fai morir! I die for you!

A jailer comes up the stairs from below and lights the lamp. He sits and waits, sleepy. Soon, a troop of guards bring in Cavaradossi. The Sergeant hands a note to the jailer, who reads it, then enters details in the registry book as he questions Cavaradossi. SCENE TWO

Carceriere Mario Cavaradossi? Mario Cavaradossi?

Cavaradossi nods. The jailer hands the pen to the Sergeant, who signs the register and then leaves down the stairs with the guards. A voi. For you.

to Cavaradossi Vi resta un’ora… You have one hour… Un sacerdote i vostri cenni attende. A priest awaits your call.

Cavaradossi No. Ma un’ultima grazia io vi richiedo… No. But I ask a last favour of you…

Carceriere Se posso… If I can…

Cavaradossi Io lascio al mondo I leave in the world una persona cara. Consentite one person dear to me. Permit me ch’io le scriva un sol motto. to write her a few lines. Unico resto di mia ricchezza è All that remains of my possessions is questo anel… this ring… Se promettete di consegnarle il mio If you will promise to give her my ultimo addio, esso è vostro… last farewell, it is yours…

The jailer hesitates, but accepts. He motions to Cavaradossi to sit at the table, where he begins to write.

Carceriere Scrivete. Write.

Cavaradossi E lucevan le stelle… And the stars shone… ed olezzava la terra… and the earth was perfumed… stridea l’uscio dell’orto… the gate to the garden creaked… e un passo sfiorava la rena… and a step rustled the sand… Entrava ella, fragrante, She entered, fragrant, mi cadea fra le braccia… fell into my arms… Oh! dolci baci, o languide carezze, Oh! sweet kisses, O gentle caresses, mentr’io fremente as I trembling le belle forme disciogliea dai veli! exposed her beauty from her veils! Svanì per sempre il sogno mio d’amore… Vanished forever is my dream of love…

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l’ora è fuggita… the hour has fled… e muoio disperato! and I die desperate! E non ho amato mai And never have I loved tanto la vita!… life so much!…

He puts his head in his hands and starts to cry, SCENE THREE

Spoletta appears at the top of the stairs with the Sergeant, Tosca following them. Spoletta points out Cavarodossi to her, then leaves with the jailer. Tosca lifts Cavaradossi’s head, and he jumps up, amazed. She shows him the safe conduct, and he reads it.

Cavaradossi Franchigia a Floria Tosca… Immunity for Floria Tosca …

Both … e al cavaliere che l’accompagna. … and for the cavalier accompanying her.

Tosca Sei libero! You are free!

Cavaradossi Scarpia!… Scarpia che cede? Scarpia!… Scarpia has yielded? La prima sua grazia è questa… This is his first act of clemency…

Tosca E l’ultima! And his last!

Cavaradossi Che dici? What are you saying?

Tosca Il tuo sangue o il mio amore Your blood or my love volea… Fur vani scongiuri e pianti. he wanted… In vain I pleaded and cried. Invan, pazza d’orror, In vain, wild with horror, alla Madonna mi volsi I appealed to the Madonna e ai Santi… and to the Saints… L’empio mostro dicea: Già The evil monster told me: Already nei cieli il patibol to the skies the gallows le braccia leva! stretch their arms! Rullavano i tamburi… The drums rolled… Rideva, l’empio mostro… rideva… He laughed, the evil monster… laughed… già la sua preda pronto a ghermir! ready to clutch his prey! «Sei mia!»—Sì.—Alla sua brama “Be mine!”—Yes.—To his lust mi promisi. Lì presso I promised myself. There at hand luccicava una lama… glimmered a blade… Ei scrisse il foglio liberator, He wrote out the liberating pass, venne all’orrendo amplesso… and came for his horrible embrace… Io quella lama gli piantai nel cor. I planted that blade in his heart.

Cavaradossi Tu!?… di tua man You!?… with your own hand l’uccidesti!—tu pia, you killed him!—you who are so devout, tu benigna,—e per me! so gentle,—and for me!

Tosca N’ebbi le man tutte lorde di sangue! My hands were covered with his blood!

Cavaradossi takes her hands in his own.

Cavaradossi O dolci mani mansuete e pure, O sweet hands gentle and pure, o mani elette a bell’opre e pietose, O hands meant for good works and piety, a carezzar fanciulli, a coglier rose, caressing children, gathering roses, a pregar, giunte per le sventure, for prayers, given at others misfortune, dunque in voi, fatte dall’amor secure, then it was in you, made strong by love, giustizia le sue sacre armi depose? that justice placed her sacred weapons?

37 LIBRETTO

Voi deste morte, o man vittoriose, You dealt out death, O victorious hands, o dolci mani mansuete e pure!… O sweet hands gentle and pure!…

Tosca Senti… l’ora è vicina; io già Listen… the hour is near; I have already raccolsi oro e gioielli… collected my gold and jewels… una vettura è pronta. a carriage is ready. Ma prima… ridi amor… prima sarai But first… laugh my love… first you will fucilato… per finta… be shot… in pretence… ad armi scariche… Simulato supplizio. with unloaded guns… Mock punishment. Al colpo… cadi. At the shot… fall down. I soldati sen vanno… e noi siam salvi! The soldiers leave… and we are safe! Poscia a Civitavecchia… una tartana… Afterwards to Civitavecchia… a ship… e via pel mar! and away by sea!

Cavaradossi Liberi! Free!

Tosca Liberi! Free!

Cavaradossi Via pel mar! Away by sea!

Tosca Chi si duole in terra più? Who suffers in the world any more? Senti effluvi di rose?… Do you smell the perfume of the roses?… Non ti par che le cose Don’t you feel that all things aspettan tutte innamorate il sole?… await the sun enamoured?…

Cavaradossi Amaro sol per te m’era il morire, Only for you was death bitter for me, Da te la vita prende ogni splendore, From you life takes every splendour, all’esser mio la gioia ed il desire for my being joy and desire nascon di te come di fiamma ardore. are born in you like intense flames. Io folgorare i cieli I will see the lightening of the heavens e scolorire vedrò and their darkening nell’occhio tuo rivelatore, through your revealing eyes, e la beltà delle cose più mire and the beauty of more wonderful things avrà sol da te will have from you alone voce e colore. their voice and colour.

Tosca Amor che seppe a te vita serbare The love that came to you to save your life ci sarà guida in terra, shall be our guide on earth, e in mar nocchier… and our pilot on the seas… e vago farà il mondo riguardare. and make the world dreamy to our eyes. Finché congiunti alle celesti sfere Until together to the celestial spheres dileguerem, siccome alte sul mare we will disperse, as high above the sea a sol cadente, nuvole leggere!… at sundown, clouds fade!…

Back to reality, Tosca looks about uneasily. E non giungono… They still don’t come… Bada!… al colpo egli è mestiere Be careful!… at the shot it’s vital che tu subito cada… that you fall down at once…

Cavaradossi Non temere Have no fear che cadrò sul momento… e al naturale. I’ll fall at that moment… and naturally.

Tosca Ma stammi attento di non farti male! But be careful not to hurt yourself! Con scenica scienza With my stage experience io saprei la movenza… I know the movement…

38 LIBRETTO

Cavaradossi Parlami ancor come dianzi parlavi, Speak to me again as you spoke before, è così dolce il suon della tua voce! so sweet is the sound of your voice!

Tosca Uniti ed esulanti Together in exile diffonderan pel mondo i nostri amori, we shall bear our love through the world, armonie di colori,… harmonies of colour,…

Cavaradossi Armonie di canti diffonderem… We’ll spread harmonies of song…

Both Trionfal… di nova speme Triumphant… with new hope l’anima freme in celestial the soul trembles in heavenly crescente ardor… ardour increasing… Ed in armonico vol And in harmonious flight già l’anima va already the spirit soars all’estasi d’amor. to the ecstasy of love.

Tosca Gli occhi ti chiuderò con I will seal your eyes with mille baci a thousand kisses e mille ti dirò nomi d’amor. and call you by a thousand names of love. FINAL SCENE

A squad of soldiers has come up the stairs. The officer arranges them in a firing squad. Spoletta, the Sergeant and the jailer also enter, Spoletta directing affairs. As dawn appears, a bell strikes four. The jailer removes Cavaradossi’s cap and nods to the officer.

Carceriere L’ora! It is time!

Cavaradossi Son pronto. I am ready.

The jailer takes the register and leaves.

Tosca (Tieni a mente… al primo colpo,… (Remember… at the first shot,… giù…) down …)

Cavaradossi (Giù.) (Down.)

Tosca (Nè rialzarti innanzi (Don’t get up before ch’io ti chiami.) I call you.)

Cavaradossi (No, amore!) (No, beloved!)

Tosca (E cadi bene.) (And fall well.)

Cavaradossi (Come la Tosca in teatro.) (Like Tosca on the stage.)

Tosca (Non ridere…) (Don’t laugh…)

Cavaradossi (Così?) (Like so?)

Tosca (Così.) (Like so.)

Tosca moves to one side where she can see. Cavaradossi declines the blindfold with a smile. The preparations strain Tosca’s patience.

Tosca Com’è lunga l’attesa! How long the wait is! Perché indugiano ancor?… Why are they still delaying?… Già sorge il sole… The sun is already rising… Perché indugiano ancora?… Why are they still delaying?… è una commedia, it is a farce, lo so… ma questa angoscia I know… but this anguish eterna pare!… seems to last for ever!…

39 LIBRETTO

Ecco!… apprestano l’armi… There!… they are taking aim… com’è bello il mio Mario!… how handsome my Mario is!…

The officer lowers his sabre, the platoon fires and Cavaradossi falls. Là! muori! There! die! Ecco un artista!… What an actor!…

The Sergeant moves towards the fallen man, but Spoletta stops him delivering the coup de grace. He covers Cavaradossi with a cloak. Spoletta and the guards leave. Tosca watches impatiently, worried that Cavaradossi may lose patience and move or speak. O Mario, non ti muovere… O Mario, do not move… s’avviano… taci! vanno… they’re going… be still! they are going… scendono… they’re descending…

She thinks she hears the guards returing. Ancora non ti muovere… You still mustn’t move…

She listens again. They have all gone. Presto, su! Mario! Mario! Quickly, up! Mario! Mario! Su, presto! Andiam! Su, su! Up, quickly! Let’s go! Up, up!

She bends down to help him, and lifts the cloak. Suddenly she gasps as she looks at her hands. She kneels and quickly removes the cloak, then leaps to her feet pale with terror. Realising what has happened, she throws herself on his body. Mario! Mario! Ah! Morto! Morto! Mario! Mario! Ah! Dead! Dead! O Mario… morto?… tu?.. così?… O Mario… dead?… you?… like this?… Finire così? finire così! To end like this? to end ike this! To, morto, morto! Mario… You, dead, dead! Mario… povera Floria tua! Mario! Mario! your poor Floria! Mario! Mario!

From below come the confused voices of Spoletta, Sciarrone and the soldiers. They are approaching.

Sciarrone Vi dico pugnalato! I tell you he was stabbed!

Voices Scarpia? Scarpia?

Sciarrone Scarpia. Scarpia.

Spoletta La donna è Tosca! It was the woman Tosca!

Voices Che non sfugga! Don’t let her escape! Attenti agli sbocchi delle scale! Watch the foot of the stairs!

Spoletta and Sciarrone rush in from the stairway.

Sciarrone È lei! It’s her!

Spoletta Ah! Tosca, pagherai Ah! Tosca, you will pay ben cara la sua vita!… dearly for his life!…

Tosca jumps up, pushing Spoletta away.

Tosca Colla mia! With my own!

Spoletta falls back from the sudden thrust, and Tosca escapes his clutches. She runs to the parapet, where she leaps up and hurls herself over the edge, crying: O Scarpia, avanti a Dio! O Scarpia, before God!

Sciarrone and soldiers rush to the parapet and look down. Spoletta stands, pale and stunned.

40 ARTISTS’ BIOGRAPHIES

Naomi Harvey Geraint Dodd Floria Tosca (soprano) Mario Cavaradossi (tenor) Photo © Brian Tarr Photo © Brian

Born and educated in Cornwall, Naomi Geraint was born in Penycae, North Wales, studied with William McAlpine at GSMD. Her and studied at the RNCM in Manchester. long association with Welsh National Opera Operatic roles include Pinkerton Madama includes Tosca, Violetta La Traviata, Desdemona Butterfly (Welsh National Opera and Singapore Otello, Cio-Cio San Madama Butterfly, Mimì La Lyric Opera); Pollione Norma (San Francisco Bohème, Liù Turandot, Nedda Pagliacci, Giorgetta Opera); Cavaradossi Tosca, Duke Rigoletto, Don Il Tabarro, Hanna Glawari The Merry Widow, José Carmen, Macduff Macbeth, Vogelgesang Pamina and First Lady The Magic Flute, Micaëla Die Meistersinger von Nürnberg, Florestan Fidelio and Frasquita Carmen, Madame Larina Eugene (WNO); Canio Pagliacci (English National Onegin, Flower Maiden Parsifal and Berta The Opera and Opera North); Nadir The Pearl Fishers, Barber of Seville. For English National Opera Werther, Rodolfo La Bohème (English Touring she has played Fiordiligi Così fan Tutte; for Opera); Turiddu Cavalleria rusticana (Raymond English Touring Opera, Mimì and Musetta Gubbay); Calaf Turandot and Radames Aïda (Mid La Bohème and Alice Ford Falstaff; for Mid- Wales Opera). Geraint has worked with many Wales Opera, Tosca; for Opera Holland Park, leading conductors, including Lothar Koenigs, Magda The Consul, directed by Simon Callow; Owain Arwel Hughes, David Lloyd Jones, and for English Bach Festival, La Musica Wilfried Boettcher, Stanisław Skrowaczewski Orfeo at The Royal Opera House and Ismene and Sir Charles Mackerras in works such as Mitridate in Monte Carlo. Naomi has equally Elgar’s Dream of Gerontius, Rossini’s Stabat Mater, wide experience as a concert and oratorio Verdi’s Requiem, and Handel’s Messiah. Future performer, and most recently she entered the engagements include an opera gala at the world of Wagner heroines by understudying Colston Hall, Bristol and a performance of Senta in ENO’s new production of The Flying Puccini’s Messa di Gloria at St Andrew’s University. Dutchman.

41 ARTISTS’ BIOGRAPHIES

Nicholas Folwell William Robert Allenby Il barone Scarpia (baritone) Sagrestano (baritone)

William Robert Allenby studied at the RAM and at the RSAMD where he was the recipient of various prestigious scholarships and awards. He has performed with English National Opera, Welsh National Opera, Scottish Opera, Opera North, the D’Oyly Carte, Glyndebourne, Opera Holland Park, Buxton, Opera Ireland, Saigon Opera House, Linbury Studio ROH, The Opera Project and Iford Arts. His repertoire includes Monterone Rigoletto, Sacristan and Sciarrone Tosca, Dulcamara L’elisir d’amore, Germont Père La Traviata, Araspe Tolomeo, Moralès Carmen, Alfio Cavalleria rusticana, Dr Bartolo and Antonio The Marriage of Figaro and Pish-Tush The Mikado. Future performances include Simone Gianni Schicchi for Opera Holland Park, Masetto Don Photo © Carpenter Turner, London Turner, Photo © Carpenter Giovanni for Mid Wales Opera, Alcindoro La Nicholas Folwell has sung Alberich Bohème for the Royal Opera House, Covent internationally, including for Nationale Garden and a return to WNO. Reisopera, Angers Nantes Opéra, Den Nye Opera, Welsh National Opera and Scottish David Newman Opera. Other engagements include Blond Eckbert, Papageno, Tonio, Falke, Mutius Timon Spoletta (tenor) of Athens, Sancho Don Quixote, Poacher/Forester, David is one of the most exciting and Major Mary Die Soldaten, Music Master Ariadne respected tenor soloists of his generation and on Naxos, Bosun Billy Budd, Host Sir John in Love, is currently on contract with English National Antonio The Marriage of Figaro, Commissar Opera. Notable operatic engagements include of Police Rosenkavalier, Kuligin Kát’a Kabanová, successfully standing in, with 20 minutes’ Brander Damnation of Faust (English National notice, to sing Nadir at ENO; Radames, Opera); Figaro, Leporello, Pizarro, Escamillo, Rodolfo, Pinkerton, Cavaradossi, Alfredo, Don Poacher, Klingsor (WNO); Beckmesser and José, Tamino and Nemorino, with companies Leporello (Opera North); Konrad Nachtigall including ENO, Scottish Opera, Opera Ireland, Die Meistersinger von Nürnberg, The Poacher, Antonio Opera Interludes and Mid Wales Opera. He (Royal Opera House); Figaro, Melitone La forza has over 80 concert works in his repertoire, del destino, Bartolo Il barbiere di Siviglia, Mumlal performing at venues including the Barbican, The Two Widows (Scottish); Pizarro, Figaro Queen Elizabeth Hall, Royal Albert Hall, York (Glyndebourne on Tour); Dreieinigkeitsmoses Minster, Durham, Winchester and Salisbury Aufstieg und Fall der Stadt Mahagonny (Nantes); Cathedrals. He has broadcast on Classic FM, Figaro, Le Chat/L’Horloge L’Enfant et les Sortilèges, BBC radio and television, and appeared as Don Inigo Gomez L’heure espagnole (Opera soloist at outdoor classical spectaculars for Zuid); Masetto (Tel Aviv); Marullo (Frankfurt); audiences of 10,000 people. Koroviev in première of Der Meister und Margarita (Paris); Sharpless, Pizarro (Holland Park).

42 ARTISTS’ BIOGRAPHIES

Matthew Hargreaves Dominic Williams Cesare Angelotti (baritone) Un pastore (treble)

Matthew Hargreaves was born in London and Dominic is 11 years old and is currently began singing as a chorister at Westminster studying at Trinity School, Croydon. Abbey. He studied at GSMD with Rudolph With the Trinity Boys Choir Dominic has Piernay‚ where he won several prizes including performed in Parsifal, backed Susan Boyle at the the Decca Prize in the 1997 Kathleen Ferrier Pride of Britain Awards, Children in Need, at Award Competition. Recent performances The Royal Variety Performance and performed include Angelotti Tosca‚ Gubetta Lucrezia Borgia at in the BBC Proms at the Royal Albert Hall. His English National Opera; Figaro Le nozze di Figaro solo performances include Britten’s Midsummer and Leporello Don Giovanni for Opera Holland Nights Dream with English National Opera Park. Future engagements include The Voice of and La Bohème at Glyndebourne. Dominic is Neptune Idomeneo for Grange Park Opera, The happiest when he is performing. Stagehand The Makropulos Case, Leporello Don Giovanni for Opera North and The Investigator A Dog’s Heart at La Scala, Milan.

Simon Lobelson Nathaniel Brawn Sciarrone/Il carceriere (baritone) Assistant conductor

Born in Sydney of Egyptian parents and bred in Nathaniel began his musical career at the Brussels, Simon holds an Opera Diploma with age of 14, paid with viola lessons in return distinction from the RCM. Recent oratorio for accompanying string pupils. Since then, appearances have included the Sydney Opera he has gone on to play in concerts with the House, Birmingham Symphony Hall, and with Bournemouth Symphony Orchestra under the London Mozart Players, Israel Camerata Marin Alsop and for performers such as Russell and for the Lucerne Festival under Pierre Watson, Alison Balsom and Bobby Chen. Boulez. Current and recent operatic projects Since graduating from the University of Surrey include Ludd and Isis for the Royal Opera House, (Conducting—Russell Keable, Piano—Dr Adriana Lecouvreur at the Queen Elizabeth Hall, Maureen Galea), Nathaniel has taught for Béatrice et Bénédict at Cadogan Hall, Barber of Seville the Eton Choral Courses and Berkshire Music for Swansea City Opera, L’enfant et les sortilèges Service, plays regularly for the Kantanti in Greece, Zaide for Sadler’s Wells and Buxton Ensemble and sings with Collegium Vocale. Festival and opera galas in China. Simon has He is now Musical Director of the Highcliffe recorded for Chandos and ABC Classics. Junior Choir, Dorset, with whom he has recently released a recording of Mr Hook’s Original Christmas Box with David Owen Norris, and he becomes Head of Music at Wetherby Preparatory School, Marble Arch, in September.

43 ARTISTS’ BIOGRAPHIES

BIOGRAPHIES

Russell Keable conductor

Russell Keable has established a reputation as one of the UK’s most exciting musicians. As a conductor he has been praised in the national and international press: “Keable and his orchestra did magnificently,” wrote the Guardian; “one of the most memorable evenings at the South Bank for many a month,” said the Musical Times. He performs with orchestras and choirs throughout the British Isles, has conducted in Prague and Paris (concerts filmed by French and British television) and recently made his debut with the Royal Oman Symphony Orchestra in Dubai. As a champion of the music of Erich Korngold he has received particular praise: the British première of Korngold’s Die tote Stadt was hailed as a triumph, and research in Los Angeles led to a world première of music from Korngold’s film score forThe Sea Hawk. Keable was trained at Nottingham and London Universities; he studied conducting at London’s Royal College of Music with Norman Del Mar, and later with George Hurst. For 27 years he has been associated with Kensington Symphony Orchestra, one of the UK’s finest non-professional orchestras, with whom he has led first performances ofworks by many British composers (including Peter Maxwell Davies, John Woolrich, Robin Holloway, David Matthews, Joby Talbot and John McCabe). He has also made recordings of two symphonies by Robert Simpson, and a Beethoven CD was released in New York. Russell Keable is recognized as a dynamic lecturer and workshop leader. He has the rare skill of being able to communicate vividly with audiences of any age (from school children to music students, adult groups and international business conferences). Over five years he developed a special relationship with the Schidlof Quartet, with whom he established an exciting and innovative education programme. He holds the post of Director of Conducting at the University of Surrey. Keable is also in demand as a composer and arranger. He has written works for many British ensembles, and his opera Burning Waters, commissioned by the Buxton Festival as part of their millennium celebration, was premièred in July 2000. He has also composed music for the mime artist Didier Danthois to use working in prisons and special needs schools.

44 ARTISTS’ BIOGRAPHIES

Kensington Symphony Orchestra

In its 56th year Kensington Symphony Orchestra enjoys an enviable reputation as one of the finest amateur orchestras in the UK. Its founding premise—to provide students and amateurs with an opportunity to perform concerts at the highest possible level—continues to be at the heart of its mission. It regularly attracts the best non-professional players from around London. It seems extraordinary that KSO has had only two principal conductors—the founder, Leslie Head, and the current incumbent, Russell Keable. The dedication, enthusiasm and passion of these two musicians has indelibly shaped KSO’s image, giving it a distinctive repertoire which undoubtedly sets it apart from other groups. Its continued commitment to the performance of the most challenging works in the canon is allied to a hunger for new music, lost masterpieces, overlooked film scores and those quirky corners of the repertoire that few others dare touch. Revivals and premières, in particular, have peppered the programming from the very beginning. In the early days there were world premières of works by Arnold Bax and Havergal Brian, and British premières of works by Nielsen, Schoenberg, Sibelius and Bruckner (the original version of the Ninth Symphony). When Russell Keable arrived in 1983, he promised to maintain the distinctive flavour of KSO. As well as the major works of Mahler, Strauss, Stravinsky and Shostakovich, Keable has aired a number of unusual works as well as delivering some significant musical landmarks—the London première of Dvořák’s opera Dimitrij and the British première of Korngold’s operatic masterpiece, Die tote Stadt (which the Evening Standard praised as “a feast of brilliant playing”). In January 2004, KSO, along with the London Oriana Choir, performed a revival of Walford Davies’s oratorio Everyman, which is now available on the Dutton label. Photo © Sim Canetty-Clarke

45 ARTISTS’ BIOGRAPHIES

New music has continued to be the life-blood of KSO. An impressive roster of contemporary composers has been represented in KSO’s progressive programmes, including Judith Weir, Benedict Mason, John Woolrich, Joby Talbot and Peter Maxwell Davies. Two exciting collaborations with the BBC Concert Orchestra have been highlights: Bob Chilcott’s Tandem and the première of Errollyn Wallen’s lively romp around the subject of speed dating, Spirit Symphony, at the Royal Festival Hall, both of which were broadcast on BBC Radio 3. In December 2005, Spirit Symphony was awarded the Radio 3 Listeners’ Award at the British Composer Awards. Russell Keable has also written music for the orchestra, particularly for its education projects, which have seen members of the orchestra working with schools from the inner London area. In 2006 KSO marked its 50th anniversary. The celebrations started with a ball at the Radisson Hotel, Portman Square in honour of the occasion, attended by many of those involved with the orchestra over the previous 50 years. The public celebration took the form of a concert at London’s Barbican in October. A packed house saw the orchestra perform an extended suite from Korngold’s score The Sea Hawk, Rachmaninov’s Piano Concerto No. 2, with established KSO collaborator Nikolai Demidenko, and Prokofiev’s cantataAlexander Nevsky, with the London Oriana Choir. KSO has an honourable pedigree in raising funds for charitable concerns. Its very first concert was given in aid of the Hungarian Relief Fund, and since then the orchestra has supported the Jacqueline du Pré Memorial Fund, the Royal Brompton Hospital Paediatric Unit, Trinity Hospice, Field Lane, Shape London and the IPOP music school. In recent years it has developed links with the Kampala Symphony Orchestra and Music School under its KSO2 programme, providing training, fundraising and instruments in partnership with charity Musequality. The reputation of the orchestra is reflected in the quality of international artists who regularly appear with KSO. In recent seasons soloists have included Nikolai Demidenko, Leon McCawley, Jack Liebeck and Richard Watkins, and the orchestra has worked with guest conductors including Andrew Gourlay and Nicholas Collon. All have enjoyed the immediate, enthusiastic but thoroughly professional approach of these amateur musicians. Without the support of its sponsors, its Friends scheme and especially its audiences, KSO could not continue to go from strength to strength and maintain its traditions of challenging programmes and exceptionally high standards of performance. Thank you for your support.

If you would like to receive news of our forthcoming concerts by email, please join our mailing list. Just send a message to [email protected] and we’ll do our best to keep you informed.

46 ARTISTS’ BIOGRAPHIES

Twickenham Choral Society Trinity Boys Choir Conductor: Christopher Herrick Director: David Swinson

A friendly and thriving choir of over 110 Trinity Boys Choir is one of the busiest and voices drawing singers of all ages from a wide most successful in the world. It has enjoyed area of West London, Twickenham Choral a high professional profile, both at home and Society has been impressing audiences for abroad, since its foundation by David Squibb more than 90 years. over 40 years ago. Christopher Herrick has been the choir’s In the world of opera, the boys appear on conductor since 1974. In that time he has such prestigious stages as Glyndebourne, the led the choir’s development, performing a Royal Opera House, Covent Garden, English huge range of repertoire ranging from the National Opera and various opera houses Renaissance to the present day, and continuing abroad, including the Opéra Comique, Paris, an important tradition of commissioning La Fenice, Venice, and at the Aix-en-Provence works from young composers. Festival. The boys are especially well known for their part in Britten’s A Midsummer Night’s Concerts are given locally as well as in Dream, in which they have appeared in over Westminster Abbey, the Royal Albert Hall, St 150 professional performances, and they Martin-in-the-Fields and Guildford Cathedral. feature on both the Warner DVD and on the Concert tours abroad take place biennially and Virgin Classics CD of the opera. have included such places as Paris, Prague, Budapest, Barcelona, Istria and Mallorca. On the concert platform, the Choir is regularly invited to perform at the BBC Proms, and Rehearsals are dynamic and challenging with a was honoured to perform in Her Majesty real feeling of enthusiasm for singing together. the Queen’s 80th Birthday Prom Concert They take place in Twickenham as part of at the Royal Albert Hall in 2006. The boys the Richmond Adult Community College. have performed with all the major London Occasional workshops with visiting specialists orchestras, and with Sir John Eliot Gardiner are organised to polish the choir’s vocal and the Monteverdi Choir in Spain, Germany, technique and members are reauditioned Italy and the UK. Trinity Boys Choir has also every three years. been invited to perform in Vienna with the The choir works with excellent professional Vienna Boys’ Choir, and in France, Holland, soloists and its partner orchestra, the Hong Kong, Japan, Malaysia and Norway. Brandenburg Sinfonia, always aiming to The Choir’s many recordings include John produce the highest quality performance. Rutter’s Bang, an opera written for them, We are thrilled to have the opportunity of Britten’s A Boy Was Born with the BBC working with Russell Keable and Kensington Symphony Chorus, and Walton’s Henry V with Symphony Orchestra tonight. the BBC Symphony Orchestra and the BBC Singers. Several feature films also incorporate the voices of Trinity Boys Choir, including Lord of the Flies and 101 Dalmations.

47 YOUR SUPPORT

FRIENDS OF KSO

To support KSO you might consider joining our very Honorary Friends popular Friends Scheme. There are three levels of Michael Fleming membership and attendant benefits: Leslie Head Friend Patrons Unlimited concession-rate tickets per concert; priority bookings, free interval drinks and concert programmes. Gill Cameron Malcolm and Christine Dunmow Premium friend Gerald Hjert A free ticket for each concert, unlimited guest tickets at David and Mary Ellen McEuen concessionary rates, priority bookings, free interval drinks Linda and Jack Pievsky and concert programmes. Neil Ritson and family Kim Strauss-Polman Patron Premium friends Two free tickets for each concert, unlimited guest tickets at concessionary rates, priority bookings, free interval drinks David Baxendale and concert programmes. Barbara Bedford Fortuné and Nathalie Bikoro All Friends and Patrons can be listed in concert programmes John Dale under either single or joint names. John Dovey We can also offer tailored Corporate Sponsorships for Maureen Keable companies and groups. Please ask for details. Nick Marchant David and Rachel Musgrove Cost of membership for the 56th Season is: Joan and Sidney Smith Friend...... £50 Premium friend...... £110 Friends Patron...... £200 Anne Baxendale To contribute to KSO through joining the Friends please Robert and Hilary Bruce email [email protected] or call David Baxendale Jan and Roy Fieldon on 020 8653 5091. Joan Hackett Robert and Gill Harding-Payne Michael and Caroline Illingworth Mrs Dorothy Patrick Peter and Marie Rollason Rufus Rottenberg Sandy Shaw

48 YOUR SUPPORT

OTHER WAYS TO SUPPORT US

Sponsorship

One way in which you, our audience, can help us very effectively is through sponsorship. Anyone can be a sponsor, and any level of support—from corporate sponsorship of a whole concert to individual backing of a particular section or musician—is enormously valuable to us. We offer a variety of benefits to sponsors tailored especially to their needs, such as programme and website advertising, guest tickets, and assistance with entertaining. For further details about sponsoring KSO, please speak to any member of the orchestra, email [email protected] or call James Wheeler on 07808 590176.

The KSO Endowment Trust

An Endowment Trust has been established by Kensington Symphony Orchestra in order to enhance the orchestra’s ability to achieve its charitable objectives in the long term. Photo © Sim Canetty-Clarke The Trust will manage a capital fund derived from donations and legacies. Each year, the Trustees will make grants from its income to assist important KSO projects and activities, such as commissioning new music, which would be impossible to finance relying on concert funds alone. Our aim is to raise at least £100,000 over the first ten years. We would be pleased to hear from individuals or organisations who would like to donate any sum, large or small, and would also be keen to talk to anyone who might consider recognising KSO’s work in their will. For further information, please email trust@ kso.org.uk or telephone Neil Ritson on 07887 987711.

49 TONIGHT’S PERFORMERS

ORCHESTRA

First Violin Viola Flute French Horn Alan Tuckwood Beccy Spencer Judith Jerome Jon Boswell Taro Visser Sally Randall Claire Pillmoor Heather Pawson Matthew Hickman Sonya Brazier Dan Dixon Jim Moffat Helen Stanley Sophie Zaaijer Ed Corn Zami Jalil Guy Raybould Piccolo Videl Bar-Kar Zen Edwards Dan Dixon Trumpet Jason Weir Toby Deller Claire Pillmoor Steve Willcox Heather Bingham Jane Spencer-Davis John Hackett Claire Maugham Ornella Calvano Oboe Leanne Thompson Sabina Wagstyl Liz Lavercombe Charles Brenan Susan Knight Alison Nethsingha Gavin Pettinger Trombone Jo Johnson Nick Macrae Phil Cambridge Megan Hill Cor Anglais Ken McGregor Katie Dicker Cello Chris Astles Claire Dovey Joseph Spooner Bass Trombone Adrian Gordon Rebecca Sackman Clarinet Steve Freeman Alexander Breedon Chris Horril Second Violin Peter Nagle Ian Noonan Contrabass David Pievsky Alexandra Dinwiddie Trombone Juliette Barker David Baxendale Bass Clarinet David Musgrove Hannah Thomas Rosie Goddard Graham Elliott Danielle Dawson Anna Hamilton Timpani Jeremy Bradshaw Kim Polman Bassoon Brian Furner Richard Sheahan Annie Marr-Johnson Nick Rampley Françoise Robinson Amanda Ferguson Sheila Wallace Percussion Amy King Judith Robinson James Shires Antonio De Stefano Contrabassoon Simon Willcox Rufus Rottenberg Double Bass Robin Thompson Hannah Brown Andrew Lang Organ Helen Turnell Steph Fleming Adrian Mumford Louise Ringrose Debs Spanton Sarah Linnell Gisella Ferrari Celeste/ Lauren Baker Offstage Viola Paul Horner Nathaniel Brawn

Harp Daniel de-Fry

50 TONIGHT’S PERFORMERS

CHOIRS

Music Director Soprano Tenor Boys Russell Keable Judy Britton Chris Britton Alexander Roberts Liz Butler Michael Collins Caleb Broomfield Assistant Conductor Sarah Cheshire Steven Cooper Cato Pauling Nathaniel Brawn Julia Coomes Michael Gilbert Charlie Gill Kathryn Doley Clive Hall Gabriel Kuti Trustees Jane Hansell Bill Hartree Daniel Gilbert Chris Astles Melissa Hartshorn John Mullinar Luke Houlahan David Baxendale Wendy Johnson Milo Hayes-Collins Zen Edwards Vivian Jordan Bass Owen Harries Heather Pawson Katherine Lidbetter Chris Bennett Prashant Dandiker Nick Rampley Oda Rudiger David Knight Robert Sharrock Neil Ritson Sarah Taylor David C Knight Shivam Chadha Richard Sheahan Tim Lidbetter Stefan Horn James Wheeler Alto Richard Metcalfe Thomas Kirkman-Wood Lisa Colclough Peter Midgley Thomas Swindell Event Team Barbara Cook Adrian Mumford William Perry Chris Astles Margaret Garnham John Saunders Adarsh Shah Zen Edwards Christine Gilbert Chris Williams Lochlan Rycott Beccy Spencer Rosemary Jeffery Phil Wright Sam Moran Sabina Wagstyl Kate Larcombe Dexter Howell Jean Leonard Angus Fenton Marketing Team Catherine Mann Dominic Williams Jeremy Bradshaw Beryl Mason Guy Raybould Pene Skinner Jo Johnson David Musgrove Louise Ringrose

Membership Team Phil Cambridge Juliette Barker David Baxendale

Programmes David Musgrove

51 Monday, 11 June 2012 PETER NAGLE Until I die there will be sounds (World première) SIBELIUS Symphony No. 7 BRAHMS Symphony No. 1 Monday, 15 October 2012 BERLIOZ Overture ‘Benvenuto Cellini’ BERG Three Pieces for Orchestra STRAVINSKY The Firebird (complete ballet) Monday, 26 November 2012 MAGNUS LINDBERG Gran Duo PROKOFIEV Violin Concerto No. 2 SCHUMANN Symphony No. 4 Monday, 21 January 2013 (At Queen Elizabeth Hall) ‘A Night at the Oscars’, to include: BERNSTEIN On the Waterfront GERSHWIN Rhapsody in Blue STEINER Gone with the Wind JOHN WILLIAMS Star Wars Saturday, 9 March 2013 (With guest conductor Stuart Barr) Programme to be announced Tuesday, 21 May 2013 MAHLER Symphony No. 7 Monday, 24 June 2013 BARTÓK Dance Suite LUTOSŁAWSKI Mi-Parti DVORÁKˇ Symphony No. 7

All concerts at 7.30pm, St. John’s, Smith Square unless otherwise stated Registered charity No. 1069620