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Tosca Studyguidev3

Tosca Studyguidev3

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A GUIDE TO THE STUDENT DRESS REHEARSAL

SYNOPSIS

Act I - In the church of Sant’Andrea della Valle, 1800 the voice of Floria , Cavaradossi’s lover. Angelotti returns to his hiding spot. Tosca is furious because she heard voices and is convinced that Cavaradossi is cheat- ing on her! Cavaradossi convinces Tosca that he was alone and promises to see her after her perform- ance that evening. Tosca leaves and Angelotti comes out of his hiding place. When a cannon is fired, Angelotti and Cavaradossi realize that the police are looking for Angelotti. Cavaradossi suggests that Angelotti hide in the well on his property and the two quickly flee to Cavaradossi’s villa. Baron Scarpia enters the church in

Watercolor sketch of The Church of Sant'Andrea della Valle pursuit of Angelotti and deduces that Cavaradossi is from Act I. Painted by for the helping the escaped prisoner. Scarpia premiere of Tosca. finds a fan embroidered with the crest of Cesare Angelotti, an escaped political Characters the Marchesa Attavanti. Tosca returns prisoner, dashes into the Church of and Scarpia uses the fan as evidence to Floria Tosca – () Sant’Andrea della Valle to hide in the convince Tosca of Cavaradossi’s unfaith- A famous Roman singer who is in Attavanti family chapel. At the sound of fulness. Tosca tearfully vows revenge and love with Mario Cavaradossi. the Angelus (a bell that signals a time exits the chapel. As the act closes, Scarpia for late-morning prayer in the Roman Mario Cavaradossi – () sings of the great pleasure he will have Catholic church), the Sacristan enters to A painter with revolutionary when he destroys Cavaradossi and has pray. He is interrupted by Mario sentiments. Tosca for himself. Cavaradossi, a painter who has been Baron Scarpia – (baritone) Act II – Scarpia’s apartment in the commissioned to paint a portrait of The power hungry chief of police Mary Magdalene in the chapel. The who is in love with Tosca. He is portrait bears a strong resemblance to Scarpia eats dinner and waits for the spy trying to capture Cesare Angelotti. the Marchesa Attavanti, who frequently Spoletta to report back on whether or comes to the chapel to pray for her Cesare Angelotti - (bass) not Tosca has led them to Cavaradossi or brother. The Sacristan leaves and An escaped prisoner who shares Angelotti. Scarpia muses to himself how Angelotti emerges from his hiding spot Cavaradossi’s revolutionary he will use Tosca for his own political to embrace his friend, Cavaradossi. sentiments. gain and then toss her aside. Spoletta Angelotti explains that he has just enters with Cavaradossi, who has been Spoletta – (tenor) escaped from the Castel Sant’Angelo, brought in for questioning. Scarpia One of the policemen who works where he was imprisoned by orders of begins his interrogation of Cavaradossi, for Scarpia. Baron Scarpia. They are interrupted by while Tosca is heard singing in the next

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SYNOPSIS, continued from page 1

and just as Scarpia is about to embrace her, she stabs him to death through the heart. Before she leaves, she places candles on the floor around his corpse and a crucifix on his chest. Act III – Castel Sant’Angelo Cavaradossi is led to the roof of the Castel Sant’Angelo to await execution. He bribes a guard to allow him to write a letter to Tosca. He is overcome with grief as he writes his farewell. Tosca soon arrives and tells him of the arrangement with Scarpia and the fake execution. She coaches Cavaradossi on how to fall realistically (so the guards will not know the execution is staged) and tells Watercolor sketch of Scarpia's room at the Palazzo Farnese from Act II. Painted by Adolfo Hohenstein for the premiere of Tosca. him that she has killed Scarpia. After the execution, Tosca approaches Cavaradossi, complimenting him on his per- room. Once Tosca enters, Scarpia will not stop torturing formance, but soon discovers that he is actually dead! Cavaradossi until Tosca tells him where Angelotti is hid- Scarpia betrayed her. As she hears the guards approaching den. Unable to bear the suffering of Cavaradossi, Tosca to arrest her for murder, she leaps off of the parapet of breaks down and reveals Angelotti’s hiding place. News the Castel Sant’Angelo to her death. arrives that the has been won by (a defeat to Scarpia’s side), to which Cavaradossi cries, “Vittoria!” Scarpia places Cavaradossi under arrest and sends him to prison to be shot at dawn. Tosca pleads with Scarpia for Cavaradossi’s life. Scarpia agrees to stage a fake execution if Tosca will surrender to him. Scarpia signs the reprieve but secretly has no inten- tion of freeing Cavaradossi. As Scarpia writes Tosca and Cavaradossi a note of free passage out of the state, Tosca realizes that she cannot bear the thought of giving herself to Scarpia. She sees a knife on the dinner table, Tosca Watercolor sketch of the platform of the Castel Sant'Angelo from Act Bloopers III. Painted by Adolfo Hohenstein for the premiere of Tosca.

Tosca is full of moments of high , high Puccini’s T action, and high notes. Some of these action - packed osca moments (like the execution of CavaradossiTosca at thewhere end things of Bloopers Act III) rely on the precise coordination of actors and crew. ’ portrayal of Tosca at Covent There are many stories from productions of Garden in 1962 almost burned down the house! didn’t exactly go as planned. During the second act, she walked too close to the candles burning on Scarpia’s desk and ignited her At the summer festival in 1995, an overzealous props hair! Scarpia (Tito Gobbi) jumped on Tosca, assistant added too much powder when he loaded the blanks into embraced her, and extinguished the flames with the guns. The blanks pierced Cavaradossi’s (Fabio Armiliato) his gloved hand. Tosca rejected Scarpia with boot as well as his leg. When Tosca (Raina Kabaivanska) ran over to him, she fainted at the sight of the blood. After an disgust but not after whispering a quick hour in surgery, Armiliato was on his way to recovery. “Thank you” to Tito. Five days later, when entering for the beginning of Act II, Armiliato’s crutch slipped, causing a double fracture of the other leg! 3 BIOGRAPHIES

The winning team of Puccini, Illica, and Giacosa produced such memorable as La Bohème, , and Tosca. Illica planned the scenario and drafted the dialogue and then Giacosa put the dialogue into polished verse. Puccini wrote the music.

Giacomo Puccini, composer Giacomo Antonio Domenico Michele Seconda Maria Puccini (December 22, 1858 – November 29, 1924) was born into a poor, but musically talented family in the town of Lucca, Italy. Puccini descended from a long line of musicians, conductors, and composers. Puccini attend- ed his first opera, (by ), in 1876 at the age of 18. This experience ignited his desire to become a composer. He entered the Conservatory of Music on a scholarship arranged by the Queen of Italy. Puccini, Giacosa, and Illica in 1885 Puccini’s career as an opera composer was secured in 1893 with the premiere of his third opera, Lescaut. with the melodramatic opera Il vassallo di Szigeth, written From then on, he was recognized as one of the greatest for Italian composer Antonio Smareglia. His association composers in Italy. The more substantial his success, the with Puccini began three years later when he completed grander his personality and tastes became. He built a rep- the for , Puccini’s first commercial utation as an excellent hunter, a collector of cars, and a success. For Puccini’s next three operas (La Bohème, Tosca, great romantic figure. “I am always in love!” he once and Madama Butterfly), Illica wrote the dialogue, while declared. Puccini also had a fascination with the techno- transposed it into verse. Illica is credited logical advances of the day, and was involved in one of with writing 35 libretti and was one of the earliest libret- the first car crashes in Italy. Like many of his heroes and tists to devise his own plots, rather than basing his opera heroines, Puccini had his own torrid love affair. His affair stories on existing works. with Elvira Gemignani attracted much attention from the Giuseppe Giacosa, librettist public. The two eloped, but were not officially married until the death of her husband. Elvira and Giacomo were Giuseppe Giacosa (October 21, 1847 – September 1, an odd pair and were eventually the center of scandal 1906) was born in Colleretto Parella, Italy. He received a when Elvira accused a young maid of having an affair law degree from University and joined his father’s with Puccini. The maid committed suicide and Elvira was legal practice until the success of his one-act verse come- jailed for five months for her false accusation. Giacomo dy, Una partita a scacchi (1873). He initially focused on and Elvira separated, and then reconciled, but after con- stylized period drama, though he did write a number of siderable damage was done to their relationship. Puccini prose plays, one of which was written especially for Sarah died of throat cancer just before finishing , the Bernhardt (see Creating Tosca on page 6). Often regarded opera he considered his crowning achievement. as one of Italy’s leading playwrights at the turn of the twentieth century, Giacosa’s association with Puccini , librettist began in 1894 at the insistence of the publisher, Giulio Luigi Illica (May 9, 1857 – December 16, 1919) was born Ricordi. Although Giacosa frequently protested against in Castell’Arquato, Italy. At a young age, he ran away, Puccini’s ideas, he often acted as the intermediary joined the navy, and fought against the Turks before between Illica and Puccini, and would usually give in to settling in Milan. His career as a librettist began in 1889 Puccini’s wishes. 4 FACT OR FICTION?

People often think that the stories in opera are fantasy or make believe. In fact, many elements of opera are derived from actual people, places, and events. Scholars have spent years trying to discover the sources, which inspired the opera (and novel and play) Tosca. Puccini’s Tosca was adapted from a book by , entitled , published in 1887. Can you sort fact from fiction in Tosca?

Castel Sant’Angelo Prison (Castle of the Holy Angel) in which Cavaradossi is imprisoned – The Roman Emperor Hadrian originally built this structure between 135 and 139 A.D. as a tomb for himself and future emperors. During the fifth century, it was converted into a fortress. In the Middles Ages and Renaissance, it was connected to the Vatican by a secret passage. The castle was used as a fortress and prison until 1870, and in 1901, was converted into a museum.

Castel Sant’Angelo Prison (Castle of the Holy Angel)

Floria Tosca – Scholars have suggested several people after whom Tosca might have been modeled, including Italian soprano Angelica Catalani. In 1856, prior to the publication of Victorien Sardou’s book, La Tosca, a French book entitled Vies et aventures des cantatrices célébres, was published which documented the life of Angelica Catalani. The parallels between the lives of Catalani and Tosca are quite extraordinary. Another opera singer, Francesca Costa, born a century earlier, is usually credited with supplying Sardou with the inspiration for the name of his heroine (Sardou simply rearranged a few letters in her last name to create his character of Tosca). Both Catalani and Costa stood out as very successful and popular opera singers.

Cesare Angelotti – Liborio Angelucci (1746-1811) was a Roman Republican in the eighteenth century, and was likely the inspiration for the character of Cesare Angelotti. In 1794, he was arrested and impris- oned in the Castel Sant’Angelo for working against the Roman govern- ment. Angelucci was part of a circle of intellectuals who were interested in new democratic ideals.

Palazzo Farnese (Farnese Palace) where Scarpia resides - designed by Giuliano de Sangallo, this is considered to be the most impressive Roman palace of the sixteenth century. It was built for Cardinal Allesandro Farnese, who later became Pope Paul III. The façade is three stories tall and thirteen bays (or windows) wide. The palace was purchased by the king of . Puccini’s Tosca takes place during this time and Scarpia’s apartment would have been on the top floor. Since 1874, the Palazzo Farnese has been home to the French Embassy. Palazzo Farnese (Farnese Palace)

Baron Scarpia – Baron Sciarpa (notice the spelling change) was a recently appointed Bourbon police officer at the time that the book, osca La Tosca, was written. After being dismissed from his post as chief of T the palace guard, he became a powerful mercenary soldier. He raised Bloopers his own mercenary army and pillaged the country in the region of Salerno, in the name of the true king, Ferdinand IV. When In a production in Hamburg, Plácido Ferdinand IV was restored to the throne, he rewarded Sciarpa with Domingo broke the cartilage in his nose the title of “Baron,” along with a large estate and an annual income. during the Act II “Vittoria! Vittoria!” scene. A doctor examined him during intermis- sion and determined that it would not affect the quality of his voice. Plácido finished the performance with a standing ovation. 5

Church of Sant’Andrea della Valle (Church of Saint Andrew of the Valley) – The church was built in 1591, and contrary to the story of Tosca, there is no painting of Mary Magdalene inside. Instead, enormous frescos by artists Mattia Preti and Domenichino depict episodes from the life of St. Andrew. There is also a statue of St. John the Baptist by Pietro Bernini.

Church of Sant’Andrea della Valle

Battle of Marengo – The Battle of Marengo, whose mention interrupts the second act, was fought on June 14, 1800, and brought to a close the last of the French Revolutionary Wars. Napoleon Bonaparte gathered an army at Dijon and marched into Italy, determined to regain the territory lost to the Austrians. However, a surprise attack by the Austrians at Marengo caught Napolean with his forces scattered. A French defeat seemed imminent until the arrival of a French division led by General Desaic de Vaygoux. The French were then able to counterattack the Austrians and win the battle. Battle of Marengo Tosca Mario Cavaradossi – The character of Mario Cavaradossi was probably Bloopers based on the Roman artist Giuseppe Ceracchi (1751-1801). Ceracchi When the star of the Athens Opera worked in France during the eighteenth century and would have been in Company’s production of ing night, Maria Callas, the understudy,Tosca fell ill onwas open- given the same intellectual circle as Liborio Angelucci. Ceracchi once sculpted her first big break. Just before the curtain rose, how- a bust of Angelucci’s wife, which is now housed at the Museum of ever, Callas overheard a stagehand exclaim, “That Rome. He eventually fled to the , where he became elephant can never be Tosca!” Outraged, the young acquainted with Washington, Hamilton, Jefferson, Adams, and soprano leapt upon the man, tore off his shirt and bloodied his nose. Just as her bruised eye was Lafayette. He created busts of Washington (now in The New York Public beginning to swell from the fight, she made Library and the Metropolitan Museum) and Jefferson (in Monticello), her entrance on stage and dazzled the and an alabaster profile of Madison (at the State Department, audience with her spectacular Washington). At one point, Ceracchi tried to performance. assassinate Napoleon! Tosca Did you know? Bloopers In order to compose the music of the morning bells of Act III, Puccini required a list of all of the churches surrounding Castel During a production at the , a Sant’Angelo and their bells, including their respective pitches. last minute casting change placed a group of extras onstage as the firing squad at the end of Act III. With no Puccini wanted to replicate the pitches exactly, to ensure rehearsal time, they were instructed to enter, shoot, and historical accuracy. then exit with the principles. Once on stage, there was some confusion as to whom they were supposed to shoot. Since the woman (Tosca) was singing, they decided to shoot her. Much to their surprise, it was the man (Cavaradossi) who fell to the floor. Seeing Tosca jump from the rampart into the Tiber River, and realizing there were no more principle actors on the stage, the soldiers fol- Giacomo Puccini lowed Tosca’s lead. They leapt off the ram- part, causing a mass suicide! 6

CREATING FLORIA TOSCA

he role of Tosca is one of the most famous in all opera. Several stars can be Tcredited with helping to originate the role and set the standard for what you will see at the dress rehearsal.

The first person ever to play the role of Tosca on stage was the famous nineteenth century actress, . “The Divine Miss Sarah” was considered one of the first real stars of the stage. Victorien Sardou (1831-1908) wrote the stage play, La Tosca, especially for her. Puccini saw her performances in Milan in 1890 and in Florence in 1895. Though Puccini only spoke a few words of French, he fell instantly in love. Bernhardt’s portrayal of Tosca not only inspired Puccini’s opera, but set the standard for future productions.

MELODRAMA – THAT SHABBY LITTLE SHOCKER During the nineteenth century, one of the most popular forms of entertainment was the . In its popular usage, a melodrama is generally defined as a stage play—usually with a romantic and sensation- Sarah Bernhardt as Tosca in Victorien alized plot—with music added to heighten emotion and intensify situations. Sardou's stage play. Often a melodrama includes special effects such as fire, explosions, or earthquakes; and the dialogue is spoken over musical accompaniment. Today, we think of melo- drama as being a highly emotional, overly dramatic rendition of an event. When something is described as “melodramatic,” it has a negative connotation. The exagger- ated acting and simplified characters (hero, heroine, and villain) of melodrama contrast sharply to the highly developed characters and intricate plots of opera. Or do they? Is there really such a great difference between melodrama and opera? Plácido Domingo as Cavaradossi and Helen Musicologist once described Puccini’s Tosca as that “shabby little shocker.” Behrens as Floria Tosca in a Critics have often dismissed Puccini’s work as melodramatic and sentimental. This, however, production of Tosca. doesn’t necessarily mean it is bad. If you contrast opera to melodrama, both involve the use of music to heighten emotion and situations, though music, of course, plays a far more significant role in opera. The words in opera are sung, rather than spoken as in melodrama, but does that make it any less dramatic? Most portray a simpli- fied morality tale of good against evil. The anguish that the hero or heroine must go through at the hands of the villain is usually central to the plot.

Is Tosca a melodrama? The heroine of the opera, Tosca herself, is agonized at the hands of the evil Scarpia. The villain and the hero are clearly defined. However, Puccini was very interested in incorporating real life drama and emotion in his composing. Are the elaborate plots, costumes, and characters that typify opera really just covering up for a simple melodrama? Is Tosca just the heroine who will do anything to save the man whom she loves?

While it is clear that opera and melodrama have many similar characteris- tics, it is important to compare and contrast their differences. 7

In 1900 Hariclea Darcleé act when she places the can- sang the world premiere of dles around Scarpia’s corpse. the operatic version of Tosca. Current performance stan- It was a few years later when, dards were set 40 years ago during a revival of the pro- when the role was sung by duction, another singer Maria Callas at Royal Opera made an indelible impres- House Covent Garden in sion on the role of Tosca. 1962. Wanting to perfect the While on her way to the sofa character, Callas practiced from which she was sup- Maria Callas revolutionized how picking up the knife to stab the role of Tosca was played. posed to sing “Vissi, d’arte,” Scarpia sixteen different ways Maria Jeritza slipped and fell. and analyzed each time how this gesture affected the Not wanting to break charac- character of Tosca. This attention to dramatic detail has ter, she began singing her Hariclea Darclee´ premiered the set the gold standard not only for the interpretation of aria from that position on role of Tosca in the opera by Tosca, but also for all operatic roles. Puccini. the floor. Puccini, enthralled with her dramatic performance, changed the blocking of Opera companies will continue to produce Tosca in new the scene. Even in today’s productions, after struggling and innovative ways. What will not with Scarpia, Tosca falls to the ground and addresses her change is the lasting effect that aria to heaven, rather than to Scarpia. Maria Jeritza’s sim- these three women will contin- Tosca ple accident actually changed the characterization of ue to have on the character of Bloopers Tosca. The “new” staging reinforces the character’s Tosca. In the early 1960’s, during a production in Christian beliefs, and adds poignancy to the end of the New York, Tosca was assured that her suicide jump off the rampart would be protected by a mattress and a trampoline. At the end of the opera, Tosca leapt off the rampart and did WHAT WILL YOU SEE? land on the trampoline – only to bounce back up again in full You will see a full dress rehearsal of one of the most The estimated running time view of the audience! popular operas of all time—Puccini’s Tosca—in the for this rehearsal of Tosca is two Kennedy Center Opera House. Performed by some of hours and 31 minutes with two the world’s most acclaimed opera stars, Washington intermissions. National Opera’s featured artists will offer you a rare insider’s look into the final moments of preparation before an opera opens to the public. WHAT DO YOU WEAR? The characters will be in full costume and makeup, AND OTHER STUFF… the opera will be fully staged, and a full orchestra will The following list will help you enjoy the experience of a accompany the singers. Because it is so close to open- night at the opera: ing night, the dress rehearsal is often a complete run through, but there is a chance that the director or con- • Dress in what is comfortable whether it is jeans or a ductor may ask to repeat a scene or two. The dress suit. “Fun casual” is usually what people wear—unless rehearsal is the last opportunity the singers will have it is opening night, which is typically dressier. A night on stage to work with the orchestra before opening at the opera can be an opportunity to get dressed in night; they need to take advantage of this valuable formal attire. time to work. Since vocal demands are so great on •Arrive on time. Latecomers will be seated only at suit- opera singers, some singers may choose to mark (not able breaks—often not until intermission. sing in full voice) during the dress rehearsal in order to preserve their voices and avoid unnecessary strain. The • Please respect other patrons’ enjoyment by turning off rehearsal will be sung in Italian with English supertitles cell phones, pagers, watch alarms, and other electronic projected above the stage. devices. continued on the back page WHAT DO YOU WEAR? AND OTHER STUFF… continued from page 7

•At the very beginning of the opera, the concertmaster of ance. If you must visit the restroom during the perform- the orchestra (the violinist who sits closest to the con- ance, please exit quickly and quietly. When you return, ductor) will ask the oboe player to play the note “A.” an usher will let you know when it is appropriate for Listen carefully. You will hear that all the other musi- you to return to your seat. Let the action on stage sur- cians in the orchestra will tune their instruments to round you. As an audience member, you are a very match the oboe’s “A.” important part of the process that is taking place. Without you, there is no show! • After all the instruments are tuned, the conductor will arrive. Be sure to applaud! •Read the English supertitles projected above the stage. Usually operas are performed in their original language. •Feel free to applaud (or shout BRAVO!) at the end of an Opera composers find inspiration in the natural rhythm aria or chorus piece to signify your enjoyment. The end and inflection of words in particular languages. Use the of a piece can be identified by a pause in the music. supertitles to gain better understanding of the story. Singers love an appreciative audience! • Listen for subtleties in the music. The tempo, volume, • Go ahead and laugh when something is funny! and complexity of the music and singing depict the feel- •Taking photos or making audio or video recordings dur- ings or actions of the characters. Also, notice repeated ing a performance is not allowed. words or phrases; they are usually significant. • Do not chew gum, eat, drink, or talk during the perform- Have fun and enjoy the show!

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