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Home , Asrael, E lucevan le stelle, Giacomo Puccini, Giuseppe Giacosa, Joseph Kerman, La Tosca

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TABLE OF CONTENTS ADDITIONAL RESOURCES FOR TEACHERS Thank you to our generous sponsors..2 Preface & Objectives…………………….... 18 Cast of characters…………………... 3 What is Anyway?...... 19 Brief Overview…………………….. 3 Opera in Not Alone……………………….. 19 Detailed synopsis with musical ex…. 4 Opera Terms………………………………. 20 About the ………………… 12 Where Did Opera Come From?...... 21 Historical context………………….. 14 Why Do Opera Singers Sound Like That?.... 22 The creation of the opera………….. 15 How Can I Become an Opera Singer?...... 22 Opera Singer Must-Haves…………………. 23 How to Make an Opera……………………. 24 Jobs in Opera………………………………. 25 Opera Etiquette…………………………….. 26 Discussion Questions………………………. 27 Educational Activities Sponsors…………….. 28

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TOSCA

First performance on January 14, 1900 at the Teatro Costanzi in Rome,

Cast of characters

Floria Tosca , a celebrated singer Mario Cavaradossi, an artist; Tosca’s lover Baron Scarpia , Chief of Roman police Cesare Angelotti , former Consul to the Roman Republic A Sacristan Bass Spoletta, a police agent Tenor Sciarrone , a gendarme Bass A Jailer Bass A Shepherd boy Treble Soldiers, police agents, altar boys, noblemen and women, townsfolk, artisans

Brief Overview In 1800, the city of Rome was a virtual police state. The ruling Bourbon monarchy was threatened by agitators advocating political and social reform. These included the Republicans, inspired to freedom and democracy by the Enlightenment, the , and . These forces opposed the Royalists who advocated the continuation of the existing monarchy in league with the Roman Catholic Church.

Cavaradossi, a pro-Republican painter and lover of the singer Tosca, encounters his friend Angelotti, an escaped political prisoner. Hastily sending away his lover Tosca, whose jealous nature leads her to mis-interpret his mood, Cavaradossi escorts Angelotti to his villa to hide. Chief of Police Scarpia, who lusts after Tosca, preys on her jealousy to arouse suspicion of her lover. Confident that Cavaradossi is complicit in Angelotti’s escape, he counts on Tosca to leave a trail for his henchmen to follow.

Having arrested Cavaradossi, Scarpia tortures the artist to no avail. Tosca, however, unable to bear her lover’s anguished cries, blurts out Angelotti’s hiding place. Cavaradossi, cursing Tosca, is led away to prison. Scarpia bargains with Tosca to save her lover’s life: in exchange for submitting to him sexually, Scarpia promises a mock execution as well as granting the lovers safe passage. Once the deal is made, Tosca murders Scarpia and makes her escape.

At dawn, Cavaradossi awaits execution at the Castel Sant’Angelo when Tosca arrives. Telling him of the safe passage and Scarpia’s death, she instructs him on how to feign death when the unloaded guns are fired. When Cavaradossi is shot and killed, however, Tosca understands that Scarpia betrayed her. As men come to arrest her, she leaps from the parapet to her death.

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Detailed synopsis with musical examples

Act 1: the cathedral of Sant’Andrea delle Valle; June 17, 1800 There is no overture or prelude, although the opens the opera with a thunderous statement of the powerful chord progression that will serve as Scarpia’s motive (Ex. 1):

Ex. 1

The curtain rises on the interior of the cathedral. A large painting is covered with cloth; various painting tools are around it. A disheveled man hurriedly enters in a state of nervous panic. Searching about as he recalls instructions given by his sister, he finds a key hidden at the base of a statue of the Madonna, using it to enter the Attavanti chapel.

As soon as he has hidden within the chapel, a sacristan enters, carrying artist’s brushes and muttering complaints about having to wash them. Surprised not to find the painter Mario Cavaradossi present, he kneels in prayer at the sound of the Angelus bell. Cavaradossi enters to resume work on his painting in progress, a portrait of Mary Magdalene. His entrance is marked by the first orchestral statement of a musical theme associated with Cavaradossi throughout the opera (Ex. 2):

Ex. 2

As he paints, he pauses to open a locket containing a portrait of his lover, the singer Floria Tosca. He compares the contrasting beauties of his blond Magdalene with the dark-haired Tosca in an impassioned (Ex. 3 - “”), concluding with a proclamation of devotion to his lover.

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Ex. 3

Cavaradossi dismisses the sacristan. A noise from the chapel startles him; he soon recognizes the man emerging as his friend Angelotti, the former Consul to the defunct Roman Republic, lately held prisoner by the Royalist regime controlling the region. Angelotti, greatly relieved, reports that he has escaped. Cavaradossi pledges to help him just as a voice is heard calling his name. Cavaradossio whispers it is a “jealous woman” as he hands Angelotti his own uneaten lunch; the escapee retreats into the chapel.

Tosca sweeps in, angrily demanding to know to whom her Mario was talking. Her entrance is accompanied by her motivic theme in the orchestra, a melody in ironic contrast to her angry mood in its suave lyricism (Ex. 4).

Ex. 4

Cavaradossi claims it was only the sacristan, but Tosca is convinced he is seeing another woman. Appeased by Cavaradossi’s laughing denial, Tosca spurns his embrace as inappropriate in front of the Madonna. She kneels in prayer, then tells him her plans for the day: following her performance that evening, the two of them can be together at Cavaradossi’s villa. When Cavaradossi, distracted by Angelotti’s situation, responds in a perfunctory tone, Tosca expresses her passionate desire for him in a short solo (Ex. 5 – “Non la sospiri, la nostra casetta”). The phrase marked “X”, an apparently innocuous cadential phrase, appears frequently throughout the opera, including Tosca’s entrance music mentioned above. It is always associated with Tosca’s varying emotional states.

Ex. 5

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The “X” motive may have been inspired by the “fate” motive in Bizet’s (Ex. 6).

Ex. 6

The two themes share certain characteristics: • They are both short (seven and five notes respectively) and easily recognizable with distinctive curling contours; • They both are used in widely contrasting manners; in chromatic sequence, slowly, rapidly etc., to fit the dramatic situation onstage. Cavaradossi, aroused by Tosca’s passion, responds with an ardent declaration of love. Satisfied once again, Tosca prepares to leave when she catches sight of the painting in progress. She recognizes the model as the Marchesa Attavanti. Turning on Cavaradossi in renewed jealous fury, she accuses him of having an affair with the Marchesa. Patiently, Cavaradossi swears an oath that he has been faithful, claiming that he merely observed her when she came to the church to pray. In a soaring solo he asks how he could ever love any other woman (Ex. 7 – “Qual occhio al mondo”):

Ex. 7

A playful, teasing restores Tosca’s good humor. When Tosca begs him to speak words of love to her, Cavaradossi passionately declares he will always tell her that he adores her. These words are set to another motivic theme, one that will represent sensual love (Ex. 8). Gently prodded by her lover, Tosca leaves.

Ex. 8

Angelotti emerges from the chapel. He explains that his sister, the Marchesa, left the chapel key for him as well as women’s clothing to use as a disguise, all to help him evade Baron Scarpia. Cavaradossi, expressing his disgust for the Roman police chief’s licentiousness and religious hypocrisy, vows to help Angelotti no matter the cost. Giving his friend the key to his

6 villa, the painter invites him to hide out there, adding that, should the police approach, there is a hidden chamber in the garden well where he cannot be found. The sound of a cannon interrupts them; it is the signal that Angelotti’s escape has been discovered. The two men both flee, heading to the villa.

The sacristan enters with great excitement, surprised to find the artist gone again. The church suddenly fills with an animated crowd of priests, pupils, and the Chapel choir. The sacristan joyfully announces breaking news: Napoleon has been defeated in battle. This Royalist victory will be celebrated, he continues, with a new cantata that evening featuring Floria Tosca. The cathedral erupts with noisy cheering and general bedlam as an imposing figure enters with two subordinates in tow: it is Baron Scarpia, striding into Sant’Andrea as the orchestra announces his presence with a reiteration of his musical motive (see Ex. 1 above).

Silencing the crowd with a rebuke for their lack of respect, Scarpia orders that preparations be made for the . After barking orders to his agents, Scarpia informs the sacristan that an escaped prisoner has been tracked to the cathedral. Quickly searching the area, Scarpia discovers the unlocked Attevanti chapel as well as a fan (part of the women’s disguise) Angelotti left behind. Glancing at the painting, he too recognizes the Marchesa and demands to know the name of the artist; Cavaradossi’s name provokes a sneer of distaste. When the basket of food is found empty in the chapel, Scarpia quickly deduces that it was given to Angelotti.

Tosca’s voice is heard entering the cathedral. Scarpia, now convinced that Cavaradossi is Angelotti’s ally, quickly plans to manipulate her into revealing her lover’s location, slyly noting that he’ll use the Marchesa’s fan as Iago used a handkerchief as a ruse against Othello.

Tosca arrives as bells are heard summoning the faithful to the church for the Te Deum. Scarpia, speaking with utmost chivalry and charm, praises Tosca’s piety, comparing her to “strumpets” who feign devoutness but in reality go to church for romantic trysts. Tosca, instantly aware that he refers to the Marchesa, demands proof of his implied accusations. When Scarpia produces the fan, claiming that it was left on the painter’s scaffold, Tosca collapses in despair, now convinced of Cavaradossi’s infidelity. As Scarpia privately gloats at the success of his ploy, Tosca’s grief turns to anger, vowing to seek out the lovers and confront them.

As she storms out in a rage, Scarpia quietly orders his agent Spoletta to follow her and report back to him later at the Farnese Palace. As the Te Deum begins with a procession of priests and altar boys and chanting in Latin fills the church, Scarpia muses that he now has two goals: the execution of Angelotti and Cavaradossi as well as his own sexual conquest of Tosca (Ex. 9 – ‘Va, Tosca”).

Ex. 9

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With the liturgical music rising to a climax, Scarpia cries out that Tosca has made him forget God; he joins his voice with the others.

Act 2: Scarpia’s apartment on an upper floor of the Farnese Palace; evening of the same day. A table is set for Scarpia’s supper with food and wine. Alone, he impatiently checks the time, though congratulating himself on his plan of having Tosca followed. He renews his intention of seeing both Angelotti and Cavaradossi executed by dawn.

Scarpia’s agent Sciarrone enters to report on that status of the search underway. A window is opened, admitting the sound of music from a party hosted by Maria Carolina, the Queen of , in honor of the reported victory of General Melas over Napoleon. Aware that Tosca will shortly perform at the celebration, Scarpia gives Sciarrone a note to deliver to Tosca. Confident that the note will summon Tosca to save her lover’s life, Scarpia relishes the prospect of making her his own. In the monologue “Ella verrá per amore del suo Mario”, Scarpia expresses his attitude towards the female sex, admitting that romantic gestures of flowers, guitars and words of love mean nothing to him; he is violent by nature, taking women as he pleases, tossing them aside when he has satiated his desire, and always looking for a new conquest (Ex, 10 – “Bramo. La cosa bramata perseguo”):

Ex. 10

Spoletta bursts in with news. As instructed, he followed Tosca to a secluded villa. After she left, he found Cavaradossi there; the artist taunted the police as they searched the house and the grounds. Spoletta arrested Cavaradossi, who is now led into the apartment by bailiffs.

Calling for a judge, a scribe and an executioner, Scarpia begins questioning his suspect, demanding to know Angelotti’s whereabouts. During their interaction, the music of the cantata is heard from a lower floor of the palace, with Tosca’s voice soaring over the orchestra and chorus. Cavaradossi defiantly and repeatedly denies knowing anything about Angelotti until Scarpia, in a rage, slams the window closed, silencing the music and warning Cavaradossi to take the situation seriously.

Her performance concluded, Tosca, responding to Scarpia’s note, rushes into the apartment. As Cavaradossi urges her to say nothing, he is led away into an adjacent torture chamber by the judge and the executioner. Scarpia turns to Tosca with the same elegant courtesy he had shown her at the cathedral, gently asking if she knows anything of the prisoner Angelotti. (Ex. 11)

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Ex. 11

She responds by claiming to have no such knowledge, also dismissing her early suspicions of the Marchesa’s fan as foolish jealousy on her part.

Scarpia signals to the executioner to begin his work; as Tosca listens in horror, Cavaradossi cries out in pain. Tosca grows increasingly agitated, begging for mercy. Demanding that the torture cease, Tosca calls out to her lover, who forbids her to say anything. In response, Scarpia orders the executioner to resume. When Tosca can bear no more, she blurts out the hiding place: a small chamber in Cavaradossi’s garden well. The torture ceases immediately; Cavaradossi, weak and bloodied, is dragged into the room. When he asks Tosca if she spoke, she denies having said anything. At that moment, the gloating Scarpia orders his men to fetch the fugitive from the garden well. In fury, Cavaradossi curses Tosca, spurning her embrace.

In the midst of this uproar, Sciarrone enters with news: his previous reports of Melas’ victory at the were premature; in reality, Napoleon was the victor and Melas’ men have fled. At this, Cavaradossi struggles to his feet as the orchestra thunders a triumphant fortissimo version of his motivic theme (Ex. 2 above). He proclaims the return of liberty; Scarpia orders him taken away to be executed.

Scarpia and Tosca are now alone. Tosca again begs for mercy, but Scarpia says only she can save Cavaradossi. Reverting to his previous tone of feigned courtesy (see Ex. 9 above), Scarpia invites her to have a glass of wine while they discuss the situation. Cutting him short, Tosca asks a blunt question: “How much?”. Laughing, Scarpia says he won’t be bought by money, adding that her hatred of him has only intensified his desire for her. Tosca bolts for the door but Scarpia, guessing her intention, tells her that appealing to Queen Maria Carolina is futile since Cavaradossi would be dead before her plea could be answered. Tosca recoils in horror as Scarpia approaches when the sound of a drum roll is heard: it is a death-march for the condemned. The painter has one hour to live.

Tosca asks God why her faithfulness is being repaid with such misery in an aria (“Vissi d’arte”) that incorporates the “Tosca theme” heard at her first Act 1 entrance (see Ex. 3 above). At the conclusion of the theme, the “X” motive (see Ex. 4 above), is modified, the final note now extending upward as if reaching for Heaven itself before coming to rest (Ex. 12):

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Ex. 12

Scarpia confirms his terms for the painter’s release: Tosca will yield her body to him. She recoils. A knock at the door brings news from Spoletta: Angelotti committed suicide upon being discovered, also confirming that all is ready for Cavaradossi’s execution. Scarpia turns questioning eyes to Tosca; she nods in defeat, demanding in the next instant that Cavaradossi be set free at once.

Scarpia replies he cannot be seen granting pardon to such a prisoner. Turning to Spoletta, he revises his orders; rather than being hung, Cavaradossi will face a sham execution by firing squad. Choosing his words carefully, Scarpia adds that Spoletta follow the model of Count Palmieri. Spoletta replies that he understands the police chief’s meaning and departs. Scarpia approaches Tosca, but she has another demand: an order of safe passage out of the city for herself and her lover. Scarpia agrees to provide one. As he crosses to a writing desk to prepare the order, Tosca spies a knife on the supper table. Concealing it, she waits until Scarpia takes her in his arms, then plunges the knife in his chest, declaring “This is Tosca’s kiss!” Mortally wounded, Scarpia collapses as Tosca taunts and curses him in his final moments of life. Standing over the body, she solemnly marvels that all of Rome had trembled before this man.

Searching for the safe passage document; Tosca spots it in the dead man’s clenched fist. She retrieves it with a shudder. Before leaving, she lights two candles, placing them on either side of the body. Taking a crucifix from the wall, she places it on Scarpia’s chest and makes a quiet exit.

Act 3: the platform of Castel Sant’Angelo; shortly before dawn on June 18, 1800. A short orchestral introduction begins with a vigorous theme for four unaccompanied horns; its energy contrasts sharply with the eerie conclusion of the previous scene (Ex. 13):

Ex. 13

The orchestra continues with music of a pastoral nature, concluding by softly repeating the chord progression from Ex. 1 above. The effect suggests that Scarpia’s malevolent spirit is lingering even after death. Sheep-herder’s bells are heard in the distance; a young shepherd sings a song in Roman dialect (Ex. 14):

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Ex. 14

The use of the Lydian mode lends the melody a distinctively archaic folk quality.

Matin bells, sounding from various points in the city, signal the dawn as signs of life begin to stir; a jailer enters, lighting a lamp and awaiting the day’s duties. Cavaradossi is led out by a group of guards. Told by the jailer that he has one hour to live, the prisoner offers him his ring as a bribe in exchange for pen and paper with which to write a farewell note to Tosca. He begins to write but is soon overcome by memories of Tosca in the aria “” (Ex. 15):

Ex. 15

As Cavaradossi sobs with grief, Tosca is silently led in by Spoletta to the accompaniment of their love theme (Ex. 8 above). She hands him the safe passage document which he reads aloud in astonishment, finding Scarpia’s gesture of mercy difficult to believe.

Tosca relates all that happened at the Farnese Palace: Scarpia’s ultimatum; her desperation; spotting the knife while he wrote out the note; and her act of violence at the moment of conquest. At Tosca’s description of her blood-stained hands, Cavaradossi expresses his wonder that those hands, surely meant for gentler purposes, could ever mete out harsh justice (Ex. 16 – “O dolci mani”):

Ex. 16

Tosca explains that before leaving Rome, the sham execution must take place, assuring Cavaradossi that the soldiers’ weapons will be unloaded and that he must fall at the sound of the shots as though killed. While awaiting the arrival of the firing squad the lovers allow themselves a few moments of joyful anticipation of their impending liberty. Their celebration culminates in a duet in which their voices take up the brass theme heard as the curtain rose (See Ex. 12 above). The confident tone of this brief duet is belied by the absence of orchestral

11 accompaniment; that their voices are suddenly heard without orchestral support lends an ominous tone of emptiness to the dreams being expressed, foreshadowing events to come.

The jailer returns; all is ready. He leads Cavaradossi up a stairway from the casement chamber to the parapet as Tosca whispers instructions on how to fake a convincing death. Cavaradossi takes his place against a wall as the firing squad assume their position; he laughingly declines the offer of a blindfold. Tosca, meanwhile, is in an agitated state of impatience. The soldiers fire their weapons. Cavaradossi falls, Tosca praising his acting ability. She watches while Spoletta prevents the coup de grace from being delivered; he covers the body with a cloak.

At long last, all protocols completed, the parapet empties. Tosca calls out for Cavaradossi to rise. Removing the cloak, she observes his corpse in shock and disbelief. Seconds later, angry voices are heard approaching; Spoletta and Sciarrone have discovered Scarpia’s body. Soldiers rush towards Tosca to block her escape. Spoletta draws near, shouting that she will pay for taking Scarpia’s life. Pushing him away, Tosca climbs on the ledge at the edge of the parapet and, crying out “Scarpia! Before God!”, leaps to her death.

About the composer

Giacomo Puccini (1858-1924) occupies a unique position in the history of opera. He became, by critical consensus as well as global success, the true heir to as the pre-eminent master of . As it happens, his death also marked the end of the Italian operatic tradition; his final (incomplete) opera was the last Italian work to achieve wide popularity in the standard repertoire despite activity by Alfano, Berio, Nono, Dallapiccola and others.

Puccini’s Tuscan ancestors included generations of church organists in , a profession for which he seemed destined until a performance of Verdi’s Aida inspired him to pursue the path of music . Upon graduation from the Conservatory (where his teachers included , best remembered for the opera La Gioconda) he wrote his first opera, . Submitted unsuccessfully to a competition for new , Le Villi was produced with the assistance of the composer Arrigo Boito, an event leading to the beginning of Puccini’s lifelong relationship with the Ricordi and Sons publishing house. The first work commissioned by was , premiered at in 1889; it was not well received, a judgement attributed to a faulty libretto rather than Puccini’s music.

Manon Lescaut (1893) began the string of wildly successful operas that brought international fame to the young composer. It also was the first example of his willingness to take on subject matter already treated or claimed by other ; ’s , written less than a decade earlier, was already a staple at the Opéra-Comique. Puccini’s version of a 1731 novel by the Abbé Prévost had a difficult gestation, with a number of librettists laboring at

12 various times, including Ruggiero Leoncavallo, the composer/librettist of . The result, however, was a compelling work famously heralded by as having signaled Verdi’s successor.

It was during this period that Puccini wed Elvira Gemignani, a married woman with whom the composer had an affair, producing their son Antonio. The marriage was not a happy one, though the couple remained together through the rest of Puccini’s life.

If rejecting Leoncavallo’s contributions to strained their relationship, Puccini’s choice of Murger’s La Vie de Bohème for his next project effectively ended it. Leoncavallo had confided his intentions to set the 1851 novel while they met at a café; shortly afterward, to Leoncavallo’s dismay, local newspapers announced Puccini’s forthcoming La Bohème . The success of this work cemented the status of dramatist Luigi Illica (1857-1919) and poet Giuseppe Giacosa (1847-1906) as his librettists of choice following their work on Manon Lescaut.

Tosca (1900) and 1905) continued Puccini’s collaboration with Illica and Giocosa. With four bona fide successes, his acceptance as the acknowledged master of Italian opera was complete, this despite the initial failure of Butterfly , in part due to resentment over his rapid rise.

Marital difficulties with Elvira and the death of Giocosa resulted in flagging inspiration and a restless search for suitable material for a libretto. It took a commission from the and the glamour of a New York premiere to end the fruitless period with (1910), his second work based on a play by the American ; the other was Butterfly. The tumultuous initial success of Fanciulla was not matched by critical acclaim. Although Puccini dubbed it his best work, it has not achieved the popularity of his previous successes.

His body of work is completed with three contrasting works: (1916), a light work said by some to be created due to the success of the of Lehar; (1918), a trilogy of one-act operas including , and Puccini’s lone comedy ; and Turandot , the final example of Puccini’s appropriation of another composer’s subject matter (’s Turandot had premiered in 1917). In this final opera Puccini turned away from the of the Nuova Scuola movement championed by Leoncavallo, Mascagni and others. Also called , the movement had rejected the Bible, Shakespeare, Greek mythology and similar sources, preferring realistic stories often depicting the lower classes, with an emphasis on adultery and gritty violence. In contrast, Turandot is a romantic fairy tale with supernatural elements; this in fact may have proven an obstacle to its successful completion, a situation compounded by Puccini’s fatal throat cancer.

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Historical context of the opera

Tosca is unique among standard operas based on historical events in that the events referred to occurred on specific dates: June 14 through 18, 1800. Though the details of these events are not treated with painstaking accuracy by librettists Illica and Giocosa, there is enough connection with real history to reward a review of what took place.

The combined effect of the nearly simultaneous American and French revolutions of the late eighteenth century had an impact on European politics lasting several years; there were many power struggles on the continent as those favoring values of the Enlightenment clashed with conservatives. Napoleon Bonaparte was waging his Italian campaign as the new century dawned. Italy, decades away from becoming a unified independent Italian nation, was under Austrian rule in much of its territory.

The characters of Tosca are divided into two camps: A) The Royalists: those who support the Bourbon Monarchy, led by Queen Maria Carolina (a native of Austria) and her husband Ferdinand IV; and B) those who support Napoleon, favoring a free and democratic Roman Republic.

Though Maria Carolina was initially sympathetic to the ideals of the French Revolution, the execution of her sister was so traumatic that, in response, she abandoned principles of the Enlightenment in favor of a reactionary government in which all protest and rebellion was repressed, often with violent means. The Catholic Church was complicit in the actions of the Bourbon monarchy; Maria Carolina had won the approval of Pope Pius XI following a private papal audience. In 1799 Bourbon forces from Naples invaded Rome with the support of the Pope, creating a police state. The Queen’s intent was to remove all anti- Royalist/anti-clerical activities in a widespread purge.

The character of Angelotti in Tosca is described by Cavaradossi as former Consul to the short- lived Roman Republic. This so-called Republic was a doomed attempt at a coup in the city of Rome by a very small group of pro-French radicals. General Berthier of France entered Rome in 1798 with the purpose of declaring democracy and demanding the removal of the Pope. Pius VI was exiled to France, where he died the following year. In organizing a new government, Berthier named one Liborio Angelucci as one of seven consuls; scholars believe that this man is the historical model for Angelotti. Berthier’s Republic never succeeded in winning the support of the Roman citizenry, most of whom remained faithful to the Roman Catholic Church. A feeble movement at best, the Republic was snuffed out by an invasion of the city by forces of the King and Queen of Naples.

The conflict between the two sides came to a head in the Battle of Marengo on June 14, 1800. Austrian (Bourbon) soldiers had marched toward in April, a threat to French interests. Napoleon led his army across the Alps to confront the forces led by opposing general Michael

14 von Melas. The battle was waged in the Piedmont region near the city of Alessandria and the village of Marengo.

Initially, thanks to Napoleon’s over-confidence and some false information supplied in part via Austrian espionage, Melas held the upper hand, inflicting heavy casualties on the French. When, however, Napoleon’s troops received reinforcements, a surprise victory was achieved, driving Melas and the Austrians out of Italy. The victory safeguarded Napoleon’s position as First Consul of France and assured the success of his Italian campaign.

The Battle of Marengo plays a key role in the story line of Tosca . In Act 1, set on June 17, the sacristan and his students celebrate the initial reports of Melas’ victory so noisily that Baron Scarpia chastises their irreverence in church. In Act 2, the late-breaking news of Melas’ defeat inspires Cavaradossi to declare an end to tyranny in a rousing solo.

The division of the opera’s characters into pro-Bourbon versus anti-Bourbon camps place the title character into a highly conflicted state. Though her devotion to the Catholic church tells us that she has no revolutionary leanings (the same was true of most of the Roman populace), Tosca nevertheless is in love with an artist who is so sympathetic to Napoleon that he ultimately gives his life to the cause. When Tosca murders Scarpia, it reflects no change of heart in her politics; it is merely to defend herself from sexual violation; a response to Scarpia’s personal evil rather than a political act.

A bit of historical inaccuracy for the sake of artistic license occurs in Act 2. While Scarpia questions Cavaradossi, Tosca is heard singing at a celebratory gala at which Maria Carolina is present. The Queen’s presence is confirmed later when Tosca considers appealing to her for Cavaradossi’s life, an idea rebuffed by Scarpia who assures Tosca that “the Queen would merely be granting pardon to a corpse”. In reality, however, Maria Carolina was not in Rome at this time, having left in early June for a trip to Vienna with her children.

The creation of the opera

Puccini’s Tosca is an operatic adaptation of La Tosca , a stage play by the French playwright Victorien Sardou (1831-1908). Sardou’s body of work consists of some seventy plays, many extremely popular during his lifetime, none of them performed today. A few other plays of Sardou have been made into operas; among these, , with music by , has had the most success. La Tosca was written at the height of his career, with over fifty plays behind him. It was intended as a vehicle for the iconic French actress , as were two previous works. First performed in 1887, La Tosca ’s mix of history, politics, sex and violence, flavored with Sardou’s gift for clever dialogue, proved a potent combination leading to lengthy European tours. It was performed over 3,000 times in Paris. (NOTE: In 1973 Italian film maker directed a theatrical film version of Sardou’s drama; it can be found on YouTube.)

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The journey from stage play to opera was lengthy and complicated by strife, arguments, distrust and broken agreements. Puccini saw the play twice during tours in Italy. Recognizing its potential, in 1889 he asked his publisher Giulio Ricordi to obtain the rights to the material from Sardou. At this point in his career, however, Puccini had not yet composed the operas that would lend prestige to his name; Manon Lescaut would not debut for another four years; La Bohème for another seven.

Sardou bluntly raised two issues with Ricordi’s emissary: first, he preferred his play be set by a French composer. Second, he was offended by Italian critics’ treatment of his work. In due time, Ricordi prevailed; an agreement was reached for Puccini to begin work on the project.

Further roadblocks emerged in creating a libretto; this is hardly surprising, as Puccini’s relationships with his librettists were always contentious, more that of reluctant bedfellows than respectful colleagues. Luigi Illica, hired to sketch an outline of the opera, found Sardou’s play not at all to his taste. Convinced that La Tosca was a poor subject, he made his feelings known to Puccini. Illica’s attitude, combined with Sardou’s lack of enthusiasm for his music, prompted the composer to wash his hands of the whole affair in 1891. Ricordi, needing a return on his investment in negotiating the rights to the play, turned the material over to , a thirty-year-old composer whose first opera Asrael had premiered in 1888.

In 1894 Franchetti made a pilgrimage to Paris to meet with Sardou, accompanied by Ricordi, Illica, and no less a personage than the greatest living opera composer, Giuseppe Verdi. Verdi is said to have been so impressed with La Tosca , especially the speech for Cavaradossi that eventually became the aria “E luceven le stele”, that he remarked he would have written it himself had he not already retired from composition. Asrael , based on a fairy tale about spirits of Good and Evil, could not have been further removed from the sensational verismo of La Tosca . Franchetti made little headway with Illica’s libretto. With the success of Manon Lescaut , Puccini’s interest in La Tosca was rekindled. Now Ricordi’s task was to disentangle the material from Franchetti. This proved no big obstacle and Puccini was duly recommissioned by his publisher.

He made slow progress, due to the creation of La Bohème as well as the tension and spats that characterized his interactions with Illica and Giocosa. The composer’s characteristic obsession over small details also manifested itself on the subject of bells. Puccini, to the irritation of some of his colleagues, insisted on authentic church-bell sounds in both Act 1(for the Angelus prayer of the sacristan) and Act 3 (the sound of Roman church bells at dawn, including the great bell of St. Peter’s basilica). The latter required painstaking research and preparation. Puccini made a field trip to Castel Sant’Angelo to judge the exact pitch, timbre and relative distances of the various church bells heard from that vantage point. Special bells had to be manufactured at area foundries to match the composer’s specifications, as standard orchestral percussion instruments were unable to provide the authenticity he sought.

Another item of local color that provoked painstaking preparation is the shepherd’s off-stage solo early in Act 3. Puccini’s desire was a folk-like song in Roman dialect rather than classic

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Italian. He researched this particular niche of folksong, observing the characteristic phrasing of folk melodies in rural areas in the vicinity of Rome. Knowing the shape of phrases needed, he inquired as to poets who could supply appropriate text in the required dialect and poetic meter. Eventually the task fell to one Giggi Zanazzo (1860-1911). Puccini accepted his verses, changing a syllable here or there to conform to his melodic line. This text did not appear in the published libretto; some have speculated this was a ploy by Ricordi to avoid paying royalties to Zanazzo.

In terms of the tensions with Illica and Giocosa, there was such general disagreement among the “collaborators” that one wonders the opera was ever completed. Puccini was merciless in his disparagement of Giocosa’s poetry; Illica strongly advocated to abandon Tosca’s fatal leap in favor of a mad scene (Sardou himself voted thumbs down on this idea, as did the composer); even Ricordi found the music wanting. In the end, the composer’s wishes held sway. The music was completed in September, 1899.

The opera was immediately embraced by the public, though it has always found detractors among critics, including . The most notorious critical attack on Tosca came from who, in his 1953 book Opera as Drama referred to the opera as “a shabby little shocker”. Other critics have taken issue with the opera’s structure, consisting as it does of a sequence of scenes involving two people: Cavaradossi/Sacristan, Cavaradossi/Angelotti, Tosca/Cavaradossi, Scarpia/Tosca, and so on. Others have praised the symmetry found in the outer acts: both Acts 1 and 3 feature an ironic similarity in the sequence of events, to wit: • Cavaradossi singing of his devotion to Tosca early in each act; • An ensuing duet for Tosca and Cavaradossi in which they joyfully sing of happy events to come (a night of passion in Act 1; escape to freedom in Act 3), unaware in each instance that the anticipated pleasures will never take place.

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ADDITIONAL RESOURCES:

Preface TOSCA was written in Italian. The Virginia Opera will perform TOSCA in the original language, Italian, but an English translation will be projected on a screen above the stage. With these Supertitles, audiences can experience the beauty of opera in the original language, yet still understand the meaning of all that is being sung.

Objectives 1. To understand how opera, as an art form, reflects and comments on society and the world in which we live.

2. To develop an awareness of how the study of certain art forms such as opera can communicate ideas of the past and present.

3. To develop a basic understanding of what opera is. Students should be able to identify the many elements (musical, visual, and dramatic) of an opera and understand how they work together to produce a unified, exciting, and emotional work.

4. To understand the process of adapting a story for the stage; what changes need to be made and why. Incorporated in this objective is a basic understanding of what makes a good opera.

5. To know the basic plot/story line of TOSCA.

6. To understand how music serves as a mode of communication in opera and the effect music has on characteristics and mood.

7. To develop some sense of appreciation for opera as a timeless art form that brings real characters, emotions, and situations to life.

8. To understand the working relationship between words and music in an opera. Students should understand how a composer and librettist work together to create significant, dramatic, and unified meaning.

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What is opera anyway? ● An opera is a musical drama or comedy where the actors sing rather than speak their lines. Today opera singers are often referred to as “singing actors.”

● The word “opera” is the plural form of the Latin word opus , which means “a work of art”. We use the plural form because of the many different art forms that combine to create an operatic performance like singing, dancing, orchestral music, visual arts, acting, and more.

● An opera tells a story. It can come from many sources, including history, current events, religious texts, fairy tales, legends, literature, poetry, and mythology. Opera can be funny, scary, sad, dramatic, mysterious, imaginary, or a combination of all these things. Opera has something for everyone!

Opera is not alone! Opera is not the only type of classical vocal music. The other genres of classical vocal music, which use an operatic style of singing, are: • Oratorio • Cantata • Art song • Chamber vocal music •

An oratorio is a lot like an opera. It tells a story through song and is a large work comprised of solo , , trios, ensembles, etc., all accompanied by an orchestra. Unlike opera however, the stories for oratorios tend to stem from sacred (religious) sources, and there are no sets, props, or costumes. The choir generally plays an important role, and there is little interaction between the characters. A cantata is effectively a short oratorio, but it can also be secular. For example, the famous composer Johann Sebastian Bach wrote a comic cantata about being addicted to coffee, appropriately entitled the Coffee Cantata . Art songs are musical settings of poems or other shorter texts for solo voice and piano that are not part of a staged work but performed instead in a concert or recital. Folksongs, spirituals, and other traditional songs are generally not considered art songs since they stem more from the popular music tradition than classical; however, if a composer arranges such a traditional song as a concert piece for voice and piano, it may be considered an art song . A group of art songs intended to be performed together as a set is called a song cycle . A similar work written for solo voice (or a small group of singers) and an instrument(s) other than piano is referred to as chamber vocal music . Songs that were originally written for voice with orchestral accompaniment are called orchestral songs .

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Opera terms

Act - the main sections of a play or opera Aria - a song sung by only one person Bass - the lowest male singing voice Baritone - the middle range male singing voice, between tenor and bass Blocking - the actors’ movements on stage, determined during rehearsals by the stage director Character - the people in a story, also called a role or part Chorus - a group of singers who function as a unit onstage, representing townspeople, crowds, etc. Composer - a person who writes music Conductor - the person who leads the orchestra and is in charge of the musical interpretation of an opera - the lowest female voice Costume - the clothing a singer wears to portray a character Crew - group of people who operate behind the scenes, controlling the curtain, changing scenery, managing props , running sound effects, and more Duet - a song sung by 2 performers Ensemble - a musical passage sung by multiple characters , usually occurs at pivotal points in the drama or at the end of an act Libretto - literally means “little book” in Italian, the words to an opera Librettist - the person who writes the words to an opera (the libretto ) Melody - a musically satisfying sequence of single notes Mezzo-soprano - the middle range female singing voice, between soprano and contralto Orchestra - a group of musicians who play together on various musical instruments Overture - the piece of music played by the orchestra at the beginning of an opera, often introduces music that will be heard later in the opera and sets the emotional tone for the audience Prop - an object used or brought onstage by the performers Quartet - a song sung by 4 performers - words that are sung in the rhythm of natural speech, similar to rap, and propel the story’s action forward Rehearsal - time when performers practice before a show, either with piano or the full orchestra Scene - segment of action within an act Score - written form of a musical composition, containing all instrumental and voice parts as well as any words Set - the scenery on stage which indicates where the action takes place Solo - only one voice singing at a time Soprano - the highest female voice Stage Director - the person who tells the performers where and how to move on stage and who determines the story’s interpretation and overall look or concept Supertitles - the meaning, in English, of the words in an opera projected on a small screen above the stage Tempo - the speed at which music is performed Tenor - the highest male voice Trio - a song sung by 3 performers Vibrato - a naturally pulsating tone that wavers from slightly above to slightly below the actual musical pitch and has a rich, emotional quality

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Where did opera come from?

Opera as an art form began with the inclusion of incidental music that was performed during the tragedies and comedies popular during ancient Greek times. The tradition of including music as an integral part of theatrical activities expanded in the Roman Empire and continued throughout the Middle Ages. Surviving examples of liturgical and vernacular plays from the Medieval times show the use of music as an insignificant part of the action as do the vast mystery and morality plays of the 15th and 16th centuries.

Traditional view holds that the first completely sung musical drama (now recognized as opera) developed as a result of discussions held in Florence in the 1570s. An informal group of men, known as the Florentine Camerata, routinely got together to talk about music and the arts, and their meetings led to the musical setting of Rinuccini’s drama, Dafne , by composer Jacopo Peri in 1597. The work of such early Italian masters as Giulio Caccini and led to the development of a through-composed musical entertainment comprised of recitative sections which revealed the plot of the drama, followed by da capo arias which provided the soloist an opportunity to develop the emotions of the character. The function of the chorus in these early works mirrored the choruses found in Greek drama.

The new musical “form” was greeted favorably by the public and quickly became a popular source of entertainment. Opera has since flourished throughout the world as a vehicle for the expression of the full range of human emotions.

Italians claim the art form as their own, retaining dominance in the field through the death of famed composer Giacomo Puccini in 1924. Other Italian composers Rossini, Bellini, Donizetti, Verdi, and Leoncavallo developed the art form through clearly defined periods that produced , opera seria, , and verismo. The Austrian composer Mozart also wrote operas in Italian and championed the singspiel (sing play), which combined the spoken word with music, a form also used by Beethoven in his only opera, Fidelio . Bizet ( Carmen ), Offenbach (Les Contes d’Hoffmann ), Gounod ( Faust ), and Meyerbeer ( Les Huguenots ) led adaptations by the French which ranged from opera comique to the grand, full-scale tragedie lyrique. German composers von Weber ( Der Freischütz ), ( Ariadne auf Naxos ), and Wagner ( Der Ring des Nibelungen ) developed diverse forms from singspiel to through-composed spectacles unified through the use of the . The English ballad opera, Spanish zarzuela, and Viennese helped further establish opera as a form of entertainment throughout the world.

With the beginning of the 20th century, composers in America diverged from European traditions in order to focus on their own roots while exploring and developing the vast body of the country’s folk music and legends. Composers such as Aaron Copland, Douglas Moore, Carlisle Floyd, Howard Hanson, and Robert Ward have all crafted operas that have been presented throughout the world to great success. Today, composers John Adams, Philip Glass, John Corigliano, and Ricky Ian Gordon enjoy success both at home and abroad and are credited with the infusion of new life into an aging art form, which continues to evolve even as it approaches its fifth century.

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Why do opera singers sound like that?

Singing in an opera is completely different from singing popular music, or what you hear on the radio. The style of singing in classical music developed along with the operatic art form, so people have been singing this way for hundreds of years. Some characteristics of a classical, or operatic, voice are:

● A large range (the ability to sing extremely high as well as extremely low) ● Breath control to sustain long musical phrases ● Strong resonance that projects over a full orchestra and into a large space without amplification ● Varying levels of volume (the ability to sing both loudly and softly)

When a singer uses the above techniques most effectively, a natural “vibrato” occurs. This is the slight alteration of pitch that you hear when a singer sustains a note. It is caused by air (breath) passing through our voice box, or larynx, and generating vibration of the vocal folds, or cords, to create pitch. Therefore, even the straightest sound, if produced in a healthy way, still has some vibrato in it. For opera singers, vibrato serves several purposes, helping the voice stay in tune and carry over the orchestra as well as warming it up to sound more human, emotional, and visceral. String players liked the sound of vibrato so much that, in the 16th century, they adopted the technique as well.

How can I become an opera singer?

Is a singer “born” with natural talent or are their voices “trained”? Most voice professionals agree that, while innate talent must be present, most of what makes an operatic voice is learned through rigorous and on-going training. Each singer’s career path is different, but for many opera singers, it looks like this: 1. Begin learning general musicianship, often at a young age through piano lessons, choir, band, or other musical experience. Some singers might take private voice lessons as well. 2. Study music, vocal performance in particular, at the university level and earn a Bachelor’s of Music degree. 3. Continue studying intensely in graduate school, earning a Master’s of Music degree. 4. Begin working as a Young Artist (sometimes called Emerging Artist), the intern of the opera world, singing in outreach programs, opera choruses, covering lead roles, performing smaller supporting roles, and anything else that offers experience. a. Some singers go back to school at this point to earn their Doctorate of Music degree. With that, they can teach at the university level and/or continue their performing careers. 5. Transition from performing as a Young Artist to the Mainstage, singing leading or mainstage supporting roles. However, it takes a lot more than just an excellent voice to become an opera singer!

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Opera singer must-haves

ACTING: Opera singers must become highly skilled actors in order to accurately portray their characters, sometimes even studying dance in order to have the best command of a stage.

STAMINA/ENDURANCE: Although few singers ever have to sing throughout an entire opera, many operas require main characters to be on stage for a substantial percentage of the show. Most operas last between 2 and 3 hours, with the longest being over 5 ( Die Meistersinger von Nürnberg by Wagner), so that’s a lot of singing, especially for the leads!

VOCAL AGILITY: Classical voices are often characterized as “lyric” or “coloratura”. Lyric voices possess a warmer tone that sounds best when singing longer, sustained, melodious phrases. Coloratura refers to fast, often high-pitched, elaborate singing involving trills, runs, and leaps, so a coloratura voice performs such vocal pyrotechnics with ease. However, all voices should have a considerable amount of vocal flexibility and agility in order to stay healthy.

PHYSICALITY: Physical appearance is increasingly important for opera singers today. Many opera companies are filming their productions and broadcasting on television and in cinemas, so singers must do even more to physically represent their characters.

HEALTH: Because opera singers’ instruments are their bodies, it is imperative for singers to stay healthy. Many opera singers exercise regularly and eat nutritious diets, even when traveling, to keep from becoming ill and having to cancel a performance.

LANGUAGES: Operas are performed across the world in all different languages, from Italian which originated the art form to English, Spanish, Russian, even Tagalog (the language spoken in the Philippines). Many singers are bi- or multi-lingual, and even if they are not fluent in more than their native language, they must learn to at least pronounce a variety of other languages. In formal classical schooling, English-speaking singers must take classes in French, Italian, and German at the minimum.

GOOD MEMORY: Opera singers have to be able to memorize hours of music in foreign languages (and of course know what each word means!), and the hundreds of moves as each opera is staged. Experienced singers memorize not just their parts, but those of others they are on stage with, so they can continue unaffected by someone else’s error.

BUSINESS SKILLS: Singers are paid only when they perform, so they have to learn how to plan and budget carefully so they can have enough money to live on year-round. When they are not traveling, they may need to do additional work using other skills, such as teaching voice, singing in a paid church choir, temping in an office, etc.

CONFIDENCE & STABILITY: Singers travel a great deal and have to be able to leave loved ones and go around the world alone. Opera rehearsals are often only about two weeks from “Hello” or opening night, a very stressful situation while living in a hotel, or a patron’s home. Singers must become skilled at navigating new cities, countries and cultures so they are comfortable everywhere and with everyone.

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How to make an opera

First, take a playwright and mix in a librettist to fashion the dramatic script, or a libretto , containing the words the actors sing. Next, combine text with music by introducing the librettist to the composer who then make sure the music and words work together to express the emotions revealed in the story. Following the completion of their work, the composer and librettist entrust their new opera to a conductor who, with a team of assistants ( repetiteurs ), assumes responsibility for the musical preparation of the work.

The conductor collaborates with a stage director (responsible for the visual component) in order to bring a performance of the new piece to life on the stage. The stage director and conductor form the creative spearhead for the new composition while assembling a design team which will take charge of the actual physical production.

Set designers, lighting designers, costume designers, wig and makeup designers and even choreographers must all be brought on board to participate in the creation of the new production. The set designer combines the skills of both an artist and an architect using blueprint plans to design the set which will reside on the stage, recreating the physical setting required by the storyline. These blueprints are turned over to a team of carpenters who are trained in the art of stage carpentry.

Following the set’s construction, painters bring the set to life with paint, following instructions from the set designers’ original plans. As the set is assembled on stage, the lighting designer works with a team of electricians to throw light onto both the stage and the set in an atmospheric, as well as practical, way. Using specialized lighting instruments, colored gels, and a state of the art computer program, the designer works with the stage director to create a lighting plot by writing lighting cues which make lighting changes flow seamlessly during the performances.

During this production period, the costume designer, in consultation with the stage director, has designed appropriate clothing for the singing actors to wear. These designs are fashioned into patterns and crafted by a team of highly skilled artisans called cutters, stitchers, and sewers. Each costume is specially made for each singer using individual measurements. The wig and makeup designer, working with the costume designer, design and create wigs and makeup to complement both the costume and the singer’s character as well as represent historically accurate fashions.

As opening night approaches, rehearsals are held on the newly crafted set, combined with backstage crew, costumes, lights, and orchestra in order to ensure a cohesive performance that will be both dramatically and musically satisfying to the assembled audience.

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Jobs in opera The composer coined the term, gesamtkunstwerk , or “total work of art”, in reference to opera for good reason. Opera combines all forms of art—music, theatre, dance, and visual art—in one entrancing package. That means it takes people with all kinds of talents and skills to make even one performance possible. Here are just some of the careers you could have in the opera world.

Pre-production Careers Technical Theatre Careers Pre-production begins with the composer and The areas of technical theatre are scenery, librettist creating the opera, and then the lighting, props, costumes, and sound. They producer oversees and manages its realization. work together in a production to establish the  Stage Director place, time, and overall mood of the show.  Artistic Director  Lighting Engineer  Technical Director  Spotlight Operator  Producer  Sound Engineer  Composer  Run/Deck Crew  Librettist  Fly Rail Operator  Set/Scenic Designer  Projection Board Operator  Charge Artist  Stagehand  Paint Crew  Carpenter Front of House Careers  Electrician The Front of House is the part of a performing  Costume Designer venue that is open to the public—lobby, ticket  Lighting Designer booth, will-call window, auditorium, foyers, etc.

 Sound Designer  House Manager

 Projection Designer  Box Office Manager

 Chorus Master  Concessions Manager

 Choreographer  Usher

 Ticketing Agent

Performing Careers  Custodian  Opera Singer  Orchestra Member Staff/Administration Careers

 Conductor  General Director

 Chorus Member  Artistic Administrator

 Supernumerary  Production

 Dancer  Human Resources  Finance

Backstage Careers  Marketing

 Stage Manager  Development

 Wardrobe Supervisor  Education and Outreach

 Wig/Hair Artist  Audience Services

 Make-up Artist  Facilities  Props Master

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Opera etiquette (in other words, how to behave at an opera)

What to Wear Most people like to dress up when they go to the opera because it’s part of the fun! Although you can pretty much wear whatever you want, an evening at the opera is usually considered to be a special occasion. If you ever go to the Metropolitan Opera in New York City, you will find audience members in everything from formal evening gowns (especially on opening nights) to jeans and a nice top.

Be a Great Audience Performers feed off an audience’s energy, so being a good audience member is very important, not just at an opera but any live performance! Here are some tips for being a great audience member: 1. Watch and listen quietly but actively. 2. Keep your cell phones and other devices out of sight and on silent or airplane mode. 3. Be sure to finish any drinks, food, or gum before entering the theater. 4. Stay in your seat until the lights come on, indicating an intermission or the end of the show. 5. Show your appreciation for the performers by applauding at the best moments, for example: a. When the conductor takes the podium right before the first music starts, b. After an aria, c. At the end of a scene, d. At the end of each act, e. During the bows at the end of the show, f. When everyone else is clapping.

BRAVO! At most opera houses, it is considered rude to whistle. Instead, to show appreciation for a singer, it is tradition to clap and shout, “Bravo!” This is a fun, easy-to-remember Italian word which means, “Great job!” or “Well done!” Be sure you say, “Brava!” for a woman performer and “Bravi!” for a group.

If you really enjoyed the performance, you can also say, “Bravissimo!” (bravissima for women, bravissimi for a group), which means “ Really well done.”

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Discussion questions

1. Opinions vary as to Cavaradossi’s state of mind as he faces the firing squad in the final scene. Some believe he trusts Tosca’s assurance that the guns are not loaded; others suspect that he is wise enough to know that Scarpia would never keep a promise and is simply playing along with Tosca. What is your opinion? Are there any hints in either the libretto or the music as to his attitude? 2. The libretto does not specify how old Tosca and Cavaradossi are, nor how long they have been together. Are there any clues in the way in which they interact? Does their behavior suggest a long-term relationship of several years’ standing? 3. A recent production of Tosca at the Metropolitan Opera created controversy when Scarpia embraced and kissed a statue of the Virgin Mary in the closing moments of Act 1. Does this choice by the director seem in keeping with Scarpia’s character? Why or why not? 4. If we take the characters’ words at face value, Tosca has a jealous nature, given to baseless suspicions, while Cavaradossi is completely faithful, uninterested in any other woman. Some question this scenario, speculating that Tosca’s jealousy may stem from past experience. Do either the libretto or the music give us reasons to question Cavaradossi’s attitude? 5. Tosca , while based on actual history, is not completely accurate in its depiction of historical events. The same can be true in other dramatic genres. Can you name a film or television program depicting history without being totally factual? Why might a choose to forego historical authenticity? 6. Puccini’s operas always feature coloristic musical elements authentic to the settings he chose. Examples would include Mexican dance rhythms in The Girl of the Golden West , the use of in Turandot and native Japanese tunes in Madama Butterfly . Cite some examples of “Roman” color present in the music of Tosca. 7. Assume that Spoletta misunderstood Scarpia’s instructions and really did stage a sham execution, allowing Tosca and Cavaradossi their freedom; how might their story have continued? Would they stay together? Would they remain in Italy? Would Cavaradossi return to his art, or turn to politics? Would Tosca retain her religious devotion? Give reasons for your scenario based on what we know of the characters. 8. The author Susan Vandiver Nicassio has stated that Tosca tells us less about Italy in 1800 than what people in Europe thought of the year 1800 a century later. What does she mean by that? Do historical perspectives evolve over time? How might a drama about the war in Viet Nam created in 2019 differ in perspective from one written in 1970? 9. The sacristan appears as a comic character in Act 1. Is he a likeable character? Is he sincere in his Catholic faith? Does his depiction imply anything about Puccini’s attitude toward religion? 10. Most of Puccini’s operas feature two female leads: Mimi and Musetta in La Bohème , Cio-Cio-San and Suzuki in Madama Butterfly , Turandot and Liù in Turandot . Why, in your opinion, did Puccini choose not to include a second female character in Tosca ? What effect would having the Marchesa Attavanti appear on stage have on the drama?

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Please join us in thanking the generous sponsors of Virginia Opera’s Education and Outreach activities:

Bath County Arts Association Chesapeake Fine Arts Commission Chesterfield County City of Norfolk CultureWorks Dominion Energy Franklin-Southampton Charities Fredericksburg Festival for the Performing Arts Herndon Foundation Henrico Education Fund National Endowment for the Arts Newport News Arts Commission Northern Piedmont Community Foundation Portsmouth Museum and Fine Arts Commission R.E.B. Foundation Richard S. Reynolds Foundation The School Board of the City of Virginia Beach Suffolk Fine Arts Commission Virginia Commission for the Arts Wells Fargo Foundation Williamsburg Area Arts Commission York County Arts Commission

Virginia Opera extends sincere thanks to the Woodlands Retirement Community (Fairfax, VA) as the inaugural donor to Virginia Opera’s newest funding initiative, Adopt-A-School, by which corporate, foundation, group and individual donors can help share the magic and beauty of live opera with underserved children.

For more information, contact Cecelia Schieve at [email protected].

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